Ambuvachi Festival: - A Socio-Cultural Study

A Dissertation Submitted

To

Sikkim University

In Partial Fulfilment of the Requirement for the

Degree of Master of Philosophy

By

Perismita Basumatary

Department of History

School of Social Sciences

February, 2020

Dedicated to Maa, Baba and

Loved one

ACKNOWLEGMENT

During the whole process of this dissertation, it took an immense exploration,

commitment, motivation and interest which helped me to stay stable and steady in

the work and all this activity couldn’t have been possible without the assistance of

many individuals and organization. So, I owe my heartiest thanks to the persons

who had helped me.

First of all, I extend my heartfelt and profound gratitude to my supervisor

Dr. S. Jeevanandam. It would not have been possible to complete my dissertation

without his concern and guidance. I especially thank for the continuous support,

encouragement, motivation that helped me to put interest throughout the course of

my study. Also, the valuable feedbacks and discussions rendered by him helped in

completing my research work.

Beside my supervisor, I would like to express my gratitude to all the faculties in

the Department of History, Sikkim University Dr. Veenu Pant (HoD), Dr. Vijay

Kumar Tangellapali, Dr. Anira Phipon Lepcha, Dr. Sangmu Thendup,

Dr. V Krishna Ananth and Dr. Khwairakpam Renuka Devi for their insightful

comments, ideas and teachings. I am also thankful to Mrs. Bishnu Maya Karki the

staff in the Department of History for her help and assistance.

My special appreciation to Rajib Sarma and his wife from Foundation of History

and Heritage Studies a research organization reference library and archive for

devoting their time and providing information’s which helped to improving this

research work.

I express my sincere thanks to the library staff of Sikkim University, Gauhati

University and Dibrugarh University for their co-operation and kind service during

the course of my study.

I am very grateful to my parents they have always been a source of inspiration for

me, brother and cousin for their wise counsel guidance, constant support

throughout this period of study which helped me to complete my work on time.

I am also thankful to my friends especially Salomi Rai, Ingnam Subba, Govind

Chettri and Jigme Dorjee Bhutia for their encouraging words and constant support.

My kind gratitude to Swgwmkang da and my senior Bhaskar da for their

assistance, valuable discussion and clearing my doubts. Last but not the least I

would like to thank Edina, Tezashree, Faridul and Fungka for their help and

support.

- Perismita Basumatary

CONTENTS

CHAPTERS Page No.

ACKNOWLEGMENT

CHAPTER-I

Introduction 1-24

CHAPTER-II

Historical Background of the Kamakhya Temple 25-48

CHAPTER –III

Ambuvachi Festival as a Historical Study 49-65

CHAPTER-IV

Ambuvachi Festival and its impact on the Society 66-77

CHAPTER-V

Conclusion 78-82

Appendix 83-85

Bibliography 86-90

1

CHAPTER-I

INTRODUCTION

Institutions are the humanly devised constraints that structure political, economic

and social interaction. They consist of both informal constraints i.e. sanctions,

taboos, customs, traditions and codes of conduct and formal rules i.e. constitutions,

laws, property rights.1 Institution divides the social and cultural organizations of

the society. The main aspects of institution can be considered as the nature of the

community and its boundaries. This institution reflects the doing of the people, the

rules which are followed even in various situations. Institutions arose from the

intellectual power of men. Thus, the religious institutions are the one considered as

a social maker of any society. Religious institutions are visible and organized

manifestations of practices and beliefs in culture and historical context.

Assam as one of the eastern most state of India has enormous numbers of religious

institutions and owns temples with Saiva, Sakta and Vaisnava worship. Some of

the Scholars had also opined that the actual birth place of Shaktism is the North-

eastern India, particularly Assam and Bengal.2 The specific references to the

worship of Shakti in Kamarupa occur in the Devi-purana, Kalikapurana and

Yoginitantra. As stated in the verse of Kalikapurana Devi i.e., Shakti is a

household deity in Kamarupa.3 Also in the Yoginitantra it is mentioned that even

in the sixteenth century Shaktism had a firm hold in Kamarupa. In Kamarupa along

with the seats of Shakti or yoni (female energy) the Linga (male energy) is

associated.4

In general, Shaktism is the cult of worshipping a female goddess as the supreme

deity. The followers of Shaktism believe that the chief God is Supreme Mother and

2

is of remote antiquity in India.5 Thus, Shaktism implies the worship of the active

female principle, in various iconographic Durga, Kali, Uma, Tara, Candi,

Camunda, Vindhyavasini etc.6 These forms of Goddesses are associated with the

power and the Goddess has been conceived as the Shakti of Siva, the prominent

deity. Shakti means the power, energy, strength, ability. It is a feminine term which

denotes the Mother Goddess. The divine feminine has given many names

conveying different aspects of her nature, Devi (Goddess), Shakti (Power/Energy),

Parasakti (Supreme Power), Adyasakti (First or Primordial Power) or Mulprakrit

(Primordial Matter).7

Marshall on the discovery of female statuettes at Mohenjo-Daro and Harappa has

remarked that “no country has worshipped the Divine Mother from time

immemorial as deep-rooted and ubiquitous as in India. Her shrines are found in

every town and hamlet throughout the length and the breadth of the Land.”8

Marshall also pointed out that “the central figure is mother or Nature Goddess who

out of her own being creates her partner God just as the Indian Mother Goddess

creates Siva and then in union with him becomes the mother of all things. Like the

Mahadevi of the Saktas she is beneficial and malignant, averter of evils but herself

a dread power; ruler of passions and appetites, and mistress of magic and sorceries;

and her ritual is characterised by sexual promiscuity and sacrifices of especially

sanguinary character.9 Monier Williams has pointed that, the history of Shaktism is

linked closely with that of Saivism. As Siva has One thousand and Eight (1008)

names or epithets, so his wife also possesses a feminine duplicate nearly every one

of his designation some of her ferocious character and also of kind and

benevolent.10

3

There exist many centres for the worship of Shakti in the history of Assam. Among

that Kamarupa is recognised as the principle centre of Shakti worship with its chief

temple Kamakhya where Shaktism is followed from ancient time onwards.

However, it started to receive a liberal patronage in the medieval period from the

rulers of Ahom, Kachari and Koch. The present temple structure was constructed

in 1565 by the rulers of Koch dynasty.11

The Koch and his follower the Mech were

the primitive Saktas.12

Epigraphs, archaeological remains supports prevalence of

Shaktism in ancient Assam and for the medieval period evidences for the

prevalence can be found in the rock inscription, copper plate grants, scriptures and

historical works like Buranji, Darrang Rajvamsavali etc. Thus in the present days

the prevalence of Shaktism is evident in a number of beliefs and practices current

in Assamese. Some of the Inscriptions like Dubi Copper Plates and Nidhanpur

Copper Plates of Bhaskarvarman there can be found the comparison of Queens

with Goddess Durga, Lakshmi and Parvati.13

Then Tezpur Copper Plates and

Parbatiya Copper Plates of Vanamalavarmandeva contain references of Goddess

Mahagauri of Kamakutagiri.14

In general, Kamakhya temple is considered as one of the important holy shrines in

India is situated in the Kamarupa (modern Guwahati) city of Assam. The name of

the hill where Kamakhya temple is located is called Nilachala Hill. Nilachala is a

combined two words Nila means blue and Acala means hill.15

It is well known that

the hill originally represented Siva himself. When the genital organ of Sati fell on

this hill, the hill turned into dark blue.16

The temple is famous for both as the

centre of Goddess worship and a centre of tantric practices. It is being said that

there are associated temples with Kamakhya they are named as Dasamahavidya,

Dhirgeswar temple and Ugratara temple. Kamakhya temple is considered different

4

from other temples. It has no image of Goddess and the Mother Goddess

Kamakhya is worshipped in the form of a yoni (reproductive organ) like stone,

which symbolises the genital organ of the female and even it is the place of

pilgrimage. This temple enshrines the symbol of Kamakhya Devi and it is

considered as the Shakti tritha, one of the fifty one Pithas.17

Apart from the

Kamakhya temple there are many other Shakti temples located the Assam. Here is

some of it:

Bageshwari Devalaya temple is situated on the south-west foothill of the

Bageshwari hill located on the Bongaigao district. The temple is considered as a

Shakti Pitha. It is believed that Sati’s sword fell in this hill which has now turned

to Devalaya. The sword in a Singhasana (lion-throne) is considered to be the Devi

Bhageswari herself or the Goddess of tiger. Here pujas related to Devi like

Ambuvachi, Durga puja are perfomed.18

Kachakhanti pith- It is a Shakti temple located on the North of Silchar in

Kumigram. The Kachakhanti is also called Kesaikhati Devi of the Brahmaputra

valley. It is said that the Dimasa Kacharis of Cachar were the ones who established

this temple as they were the worshippers of Shakti.

Bhairab Kunda- This place was considered as one of the supreme Shakti Pitha

established by Koch king Naranarayana in the mid 16th

century situated in

Udalguri district.19

For Hindus Bhairab Kunda is the place of pilgrimage and take

their holy bath in the Kundas (water-pool). The Bhairab kunda is associated with

the Trishul Devi Mandir at the Nalkhaora village.

Math-Mandir is a Devi temple also known as the Kamakhya Thaan. The deity

here is a stone slab inset with a Visvapadma of exquisite workmanship,

5

worshipped as Kamakhya. This shrine lies on the eastern bank of the large

Lakhimpur tank, about seven kilometre away from Burhinagar road junction.

Harhi Devalaya, a Shakti temple located at Dhemaji district.

Shakti Shrine Alokjharir Thaan and Mahamaya Thaan of Dubri district.

Salkosa Kali Thaan.

Tukreswari Devalaya, Krishnai- Tukreswari is situated beside the Guwahati-

Goalpara road. The Tukresvari is a steep and isolated hill, about 50m in elevation

from its surroundings. At its foot-hill and beside the above road is located a temple

complex consisting of modern buildings which enshrines the sleepers of the Debi.

The top of the hill is a rock formation, flat and spacious, which contains the Devi

Pitha.20

Kakagosain Thaan is a Shakti temple enshrines the Ayudhas (weapons) of the

Devi. This temple is located within the Bokakhat town and lies to the south of the

National Highway which has passed through this town.

Burhigosani Devalaya, here the temple enshrines image of Mahisamardini

Durga situated in the Jorhat district.

Dirgeswari Devalaya- The Dirgeswari is a Shakti Pitha and the main deity

here is a rock formation watered by an underground stream and is located inside a

rocky sanctum-sanctorum, a wall of which also contain two rock-cult fingers. The

name Dirgeswari means the Isvari or the Devi of the Dirgha or lengthy hill, located

on the North Guwahati.

Dudhkunwari situated in Rangamati of Kamarupa district. The shrine has

developed round a rock with outgrowths resembling a pair of female breasts. It is

believed that the breasts of goddess Sati were believed to have fallen here though it

is not recognised universally.

6

Ugratara Temple is a Shakti temple situated in Kamarupa district. The navel of

Sati is being worshipped in this temple.

Deopani Durga Mandir of Karbi-Anglong district is also famous as a Shakti

temple.

Neel Devalaya a Shakti temple situated in Lakhimpur district. The temple

contains only the feet portions of a stone image with the monolithic pedestal and

this image is worshipped as the legs of the Devi.

Balilecha Kali Mandir is located in Nalbari district.

Bhairavi Temple- The temple is located in the city Tezpur, one of the Shakti

Pitha. The temple contains the stone symbol representing the pair of feet of Sati.

Another Shakti temple is Kalyani Devalaya situated in the town Barangbari of

city Tezpur.

There are many mythological stories and legends on Kamakhya temple. According

to legend, ‘Sati’, wife of Lord Shiva, killed herself into the sacrificial fire. The

reason was that Sati’s father Daksa organised a sacrificial programme, where all

Gods and Goddess were present. But his son-in-law, Shiva and his daughter Sati

were not invited as because Daksa did not like Shiva due to his appearance. In

spite of that Sati went to her father’s house. As Daksa saw Sati, he became angry

and made derogatory references to Shiva and insulted in front of all the denizens of

Tribhuvana. Sati could not bear the treatment she received from her father and

killed herself. Shiva came to know about the incident and went to his father-in-

law’s house and being furious destroyed the sacrificial place. Then Shiva started to

do Tandav Nirtya (the celestial dance of the infuriated Shiva which possessed the

capacity of destroying the universe) carrying the dead body of Sati. It alarmed that

the entire universe would be destroyed and the creator asked Vishnu to intervene

7

with his sudarshan chakra to cut off Sati’s body into pieces i.e. of fifty one parts.

That fell all over modern India as well as Sri Lanka, Bangladesh, Nepal, Tibet,

Bhutan and Pakistan, which turned to Shakti Pith (religious centres).

1.1. Total Pithas inscribed from different Tantras and Puranans

According to the mythology, Shakti Pithas are originated with the death of

Goddess Sati. As known from puranas the places where the body parts of Goddess

Sati had fallen became the Sakti Pithas. The description of Pithas can be traced in

the manuscripts and puranas. The Kalikapurana gives an account of seven Pithas.

According to this section the Pithas are:

Devikutas i.e. Devikotta, modern Bangarh in the Dinajpur district of Bengal

where Sati’s two feet fell on the ground and the Devi is Mahābhāgā.

Uḍḍyāna where the two thighs fell and the Devi is Kātyāyanī.

Kāmagiri in Kamrupa where the pudendum mulibere fell and the Devi is

Kamakhya.

A locality on the eastern border of Kamarupa where the navel fell and the

Devi is Dikkaravāsinī.

Jālandhara where the two breasts fell and the Devi is Candi.

Pūrṇagiri where the neck and shoulders fell and the Devi is Pūrṇeśvarī.

A locality on the borders of Kamarupa where the head fell and the Devi is

Lalitakanta. Now Lalitakanta is associated with the hill-streams Sandhyā, Lalita

and kanta not far from Guwahati.21

The manuscripts entitled Pīṭhanirṇaya or Mahāpīthanirūpaṇa describes the fifty-

one Pithas. Rudrayāmala a tantra work composed earlier than 1052 A.D mentions

ten holy places as the principal Pithas. Another work entitled Kularṇava Tantra

8

mentions eighteen Pithas. In the Jñānārṇava Tantra eight important Pithas has

been noted.22

D.C Sircar mentioned the names of hundred Pithas. These are as follows: 1

Viśālākṣī-Vārāṇasī, 2 Liṅgadhāriṇī-Naimiṣa, 3 Lalitā-prayāga, 4 Kāmākṣī,

Kāmukā or Kāmukī-Gandhamādana, 5 Kumudā-Mānasa, 6 Viśvakāyā or

Viśvakāma-Ambara, 7 Gomati-Gomata, 8 Kāmaeāriṇī-Mandara, 9 Madotkaṭā, 10

Jayantī-Hastināpura, 11 Gaurī-Kānyakubja, 12 Rambhā-the Malaya or Amala

mountain, 13 Kīrtimatī-Ekāmra, 14 Viśvā or Vilvā-Viśveśvara, 15 Pūruhūtā-

Puṣkara, 16 Mārgadāyinī-Kedāra, 17 Nandā or Mandā- the Himalayas, 18

Bhadrakarṇikā or Bhadrakālikā-Gokarṇa, 19 Bhavānī- Sthāṇvīśvaṛa or

Sthāneśvara, 20 Vilvapatrikā-Vilvaka or Vilvala, 21 Mādhavī-Śrīśaila, 22 Bhadrā

or Bhadreśvari-Bhadra, Bhadreśvara or Madreśvara, 23 Jayā-Varāhaśaila, 24

Kamalā-Kamalālaya, 25 Rudrāṇī or Kalyāṇī- Rudrakoṭi, 26 Kālī- Kālañjara, 27

Kapilā- Mahāliṅga, 28 Mukuṭeśvarī or Maṅgaleśvari-Koṭa, Markoṭa or Karkoṭa,

29 Mahādevī-Śālagrāma, 30 Jalapriyā-Śivaliṅga, 31 Kumārī- Māyāpurī, 32

Lalitā-Santāna, 33 Utpalā or Utpalākṣī- Sahasrākṣa, 34 Mahotpalā-Sahasrākṣa or

Hiraṇyākṣa, 35 Maṅgalā-the Ganga or Gayā, 36 Vimalā-Puruṣottama, 37

Amoghākṣī-Vipāśā, 38 Pāṭalā- Puṇḍravardhana or Puṇyavardhana, 39 Nārāyaṇī-

Supārśva, 40 Bhadrasundari or Rudrasundari-Trikūṭa, 41 Vipulā-Vipula, 42

Kalyāṇī-Mānasācala or Malayācala, 43 Koṭsavī-Koṭitīrtha, 44 Sugandhā-

Mādhavavana or Madhavīvana, 45 Trisandhyā-Godāśrama, Godāvarī or

Kubjāmraka, 46 Ratipriyā or Haripriyā-Gaṅgādvāra, 47 Śivānandā, Śubhānandā,

Sunandā or Śabhānandā-Śivakunda, Śivankuñja or Śivacanda, 48 Nandinī-the

bank of the Devikā, 49 Rukmiṇi-Dvāravatī, 50 Rādhā-Vṛndāvana, 51 Devakī-

Mathurā, 52 Parameśvarī-Pātāla, 53 Sitā-Citrakūta, 54 Vindhyavāsinī-the

9

Vindhyas, 55 Ekavīrā-the Sahyādri (Western Ghats), 56 Candrikā-Hariścandra or

Harmacandra, 57 Ramaṇā-Rāmatīrtha, 58 Mṛgāvatī-the Yamunā, 59 Mahālakṣmī-

Karavīra, 60 Umā or Rūpā-Vināyaka, 61 Arogā or Ārogyā-Vaidyanātha, 62

Maheśvari-Mahākāla, 63 Abhayā-the Uṣṇatīrthas, or Puṣpatīrtha, 64 Amṛtā,

Nitambā or Mṛgī- the Vindhyan cave, 65 Māṇḍavī or Māṇḍukī-Māṇḍavya or

Māṇḍava, 66 Svāhā- Māheśvarapura or Māheśvarīpura, 67 Pracaṇḍā-

Chāgalāṇḍa, Chagalaṇḍa, Chāgaliṅga or Vegala, 68 Caṇḍikā-Amarakaṇṭaka,

Makarandaka or Marakaṅkaṭa, 69 Varārohā -Someśvara, 70 Puṣkarāvatī-

Prabhāsa, 71 Devamātā-Sarasvatī, 72 Mātā, Pārā or Pāvā-the shore of the sea or

the bank of the Pārā, 73 Mahābhāgā or Mahāpadmā-Mahālaya, 74 Piṅgaleśvarī-

the Payoṣṇī, 75 Siṃhikā - Kṛitaśauca, 76 Yaśaskarī, Saṅkarī or Atiśaṅkarī-

Kārttikeya, 77 Lolā Utpalāvartaka, 78 Subhadrā-Śoṇasaṅgama or

Sindhusaṅgama, 79 Mātā Lakṣmī or Umā Lakṣmī-Siddhapura, Siddhavana or

Siddhavata, 80 Aṅganā, Anaṅgā or Taraṅgā-Bharatāśrama, 81 Viśvamukhī-

Jālandhara, 82 Tārā-the Kiṣkindhya hill, 83 Puṣṭi- Devadāruvana, 84 Medhā-

Kāśmīra, 85 Bhīmā-the Himalayas, 86 Puṣṭi or Tuṣṭi-Vastreśvara or Viśveśvara, 87

Śuddhi or Śuddhā-Kapālamocana, 88 Mātā-Kāyāvarohaṇa, 89 Dhvani or Dharā-

Śaṅkhoddhāra, 90 Dhrti-Piṇḍāraka, 91 Kālā or Kalā- the Candrabhāgā, 92

Śivakāriṇī, Śivadhāriṇi, Siddhidāyinī or Saktidhāriṇī-Acchoda, 93 Amṛtā-the Beṇā,

94 Urvaśī-Badarī, 95 Oṣadhi or Auṣadhi-Uttarakuru, 96 Kuśodakā-Kuśadvipa, 97

Manmathā-Hemakūṭa, 98 Satyavādinī - Mukuṭa or Kumuda, 99 Vandanīyā or

Vandinīkā-Aśvattha, 100 Nidhi-in the home of Vaiśravana, 101 Gāyatrī in

grammar, 102 Pārvatī in the company of Siva, 103 Indrāṇī in the world of gods,

104 Sarasvatī in the mouths of Brahman, 105 Prabhā (light) in the solar orb, 106

Vaiṣnavī among the Divine Mothers, 107 Arundhatī among chaste women, 108

10

Tillottamā among beautiful girls, 109 Brahmakalā in the heart of men, and 110

Shakti (strength) in the living beings.23

These are the names of the Pithas among

which some of the places are imaginary.

According to the description of Kamakhyatantram, Mahapitha (great place of

pilgrimage) are Nepāla, Pauganḍa, Vardhamāna, Pursathira, Carasthira, Kāśmīra,

Kānyakubja, Dārukeśa and Ekāmra.24

Other Mahapithas are Kolagiri, Elāpura,

Kāleśvara, Jayantikā, Prayāga, Saṣthīśa, Māyāpura, Kuleśvarī (Janeśvarī), Malaya

Mountain, Vāmana Mountain, Hiraṇyapūraka, Mahālakṣmīpura and Uḍḍīyāna

Kāśīpura.25

The superior pithas are Tristorā, Kāmakota, Kailāsa Mountain, Bhṛgu

Mountain, Kedāra, Aumkāreśvara, Jālandhara, Mālava, Kulābja, Devamātṛkā,

Gokarṇa, Māruteśvara, Aṣtahāsa, Vīraja, Rājagṛha, Ujjayinī, Kṣīrikā,

Hastināpūrakam and Uḍḍīśa.26

1.1.2. Tantricism

Trantricism is related to Shaktism as the procedure of worshipping Shakti cult is

based on sacrifice and the magical rites. Both Shaktism and Tantricism indicate the

feminine aspect of the divine.27

During the earlier period the practice of tantric cult

had a strong hold in Kamarupa but at present it has lost its power over the region.

The worshipping process of Goddess is mentioned in the tantras. The ritual

consists of muttering of mantras (mystic syllables), drawing of Yantras (mystic

drawings) and the application of five makaras, i.e. matsya or fish, māmsa or flesh,

madīrā or wine, mūdrā or mystic symbols shown with the fingers and maithuna or

sex. Other important elements are vīja, nyāsa, bhūtaśuddhi, kuṇḍalī-yoga, kriyā,

caryā, māyā, yogā etc (Avalon, Shakti and Sakta).28

There are some other works

11

such as Kulā cāra-tantra, Yoni-tails of the tantra which give details of the

process.29

The word ‘tantra’ is derived from ‘tan’ meaning to spread ‘tra’ meaning to save.

Thus taken together the word ‘tantra’ means something which spreads and saves

simultaneously.30

Yoginitantra is one of the important works on tantric literature. It

is the dialogue between Siva and Parvati divided into two parts Pūrvardħa (first

part) and Uttarārdha (second part). The first part gives the description of the glory

of guru (preceptor) and is followed by the vivid description of Kali, the method of

initiation, worship, meditation, practice of rituals, mythology etc the second part

focuses mainly on the sacred places and the places of pilgrimage in ancient

medieval Assam known as . Also the performance of sraddha is enumerated, the

creation, the destruction of the world and the worship of gods are described.31

1.1.3. Derivation of name Pragjyotisha or Kamarupa

Even with the name Kamarupa or Pragjyotisha or present Assam, there are many

mixed stories. The name Pragjyotisha was mainly used in the ancient period. In

Markendaya Purana Pragjyotisha is mentioned as one of the famous kingdom also

known as Mleccha kingdom ruled over by king Bhagadatta and for which is called

as Danava or Asura kingdom.32

According to the Kalikapurana, Pragjyotishpura

was a land where the creator God, Brahma sat and first created the stars so the city

was called Pragjyotishpura a city equal to the city of Indra.33

In Kalikapurana both

the name Kamarupa and Pragjyotisha is used to denote the city. Again in another

verse of the chapter Kalikapurana, the name is used explaining as the region on

the east of the river Karatoya extending up to the seat of the Goddess

Dikkaravasini thirty yojanas in breadth and one hundred yojanas in length,

12

triangular in shape, black in colour, interspersed with innumerable hills and

hundreds of rivers.34

It is also said that region Kamarupa (present Kamrup) is

derived from the name of Kama. Once he was burnt by the fiery glance of the eyes

of Sambhu for his misdeeds but later on regained his shape with the grace of

Sambhu himself, for which the region got its name.35

The city is also known as the

secret place where Shiva and Parvati always reside.36

Also, it is said that might be

the name of the kingdom has been equated to Kamru and Pau, a hill.37

About the place Kamarupa, in Yoginitantra it is mentioned that in course of their

dialogue i.e., Parvati and Shiva. Parvati desired to know the chosen place where

one can attain siddhi (achievement) and mukti (salvation) by the performance of

japa etc. In reply to this Siva says that japa become effective when it is performed

in Varanasi, but the results turnout only if performed in Kamrupa.38

In the second

part of Yoginitantra description of the sacred places of Kamrupa are given. About

the emerging of four Pithas it has noted that Uddiyāna emerged in Satya age,

Pūrṇaśaila in Treta age, Jālamndhara in Dvapara age and Kamarupa or Kamakhya

in Kali age.39

Regarding the derivation of name Pragjyotisha or Kamarupa there are varied and

numerous references. While referring to the rulers the epigraphs of the early period

preferred the name Pragjyotisha and Pragjyotishadhipati.40

Even in the Bhagalpur

grant of Narayanpala the name Pragjyotisha is engraved while Kamarupa is

mentioned in the Allahabad Pillar Prasasti of Samudragupta.41

Thus from this it

can be traced that the name of the city was changed from Pragjyotisha to

Kamarupa.

13

Edward Gait writes the meaning of Pragjyotisha, “Prag means former or eastern,

and Jyotisha, a star, astrology, shining i.e. the city of eastern, Astrology”.42

K.L

Barua relating with the point of Edward Gait opined that the temple Chitrachala

located to the east of Gauhati town is dedicated to the Navagrahas or the nine

planets might be the origin of the name Pragjyotisha.43

1.1.4. Boundaries of Kamarupa

Kamarupa is surrounded by rivers and mountains. According to Kalikapurana,

Kamarupa is surrounded by the river Karatoya in the west and the Lalita-kanta in

the east.44

Whereas in Yoginitantra “Kamarupa extends from the mountain

Kāñcana to the Brahmaputra and from the river Karatoya to Dikkaravasini”.45

And

on the south there is river Brahmaputra, along with Bhutan, Rangpur, Cooch Bihar,

the north-east of Mymensingh and possibly the Garo Hills.46

Another Sanskrit work Haragaurīsamvāda divides Kamarupa into four Pithas with

marked river boundaries namely 1) Ratanpitha between the Karotoya and the

Svarṇakoṣa 2) Kamapitha between the Svarṇakoṣa and the Kapili 3) Svarṇapitha

between the Puspika and Bhairavi 4) Saumārapitha between the Bhairavi and the

Dikarng.47

1.1.5. Assam

The present name Assam also has a tremendous point on its derivation. According

to some of the writers, it is derived from the word ‘Asama’ meaning distinguished

from the Samatata or the level plains of Bengal. B.K. Kakati suggests that the word

Asama (peerless) might be the Sanskritised form of Acham. In Tai, ‘cham’ means

to be defeated. With the prefix a, Assam would mean undefeated and conquerors.

14

If this is its origin, then the names are once applied to the people was subsequently

applied to the country as well.48

The history tells that in the early period the land

belonged to the Danavas or Asuras. As the earliest inhabitants of Assam are known

as the Kiratas, Cinas and Asuras49

, the Mother Goddess was also believed to be the

tribal God. Even in the Kalikapurana, Kiratas were described as shaven heads and

yellow skins. Some of the scholars had opined that people belonging to different

races Negrito, Austro-Asiatic group, Tibeto-Burman, Thai or Shan and also the

Aryans of the neighbouring lands came and settled in different parts of Assam at

different times.50

Mahiranga Danava was the earliest mentioned king of

Kamarupa. He was succeeded by Hatakasura, Sambasura, Ratnasura and

Ghatakasura.51

According to an account in the Kalikapurana, Naraka son of

Vishnu in his boar incarnation and Bhumi (Mother Earth) came and conquered

Kamarupa from the Kiratas. He made Pragjyotishpura his capital. Naraka was

succeeded by his son Bhagadatta who took part in the Mahabharata war.

Bhagadatta was succeeded by Bajradatta.52

From the evidences it is know that

dynasties initiated by Varman, Salastamba (650 C.E - 990 C.E) and Pala (990 C.E

– 1138 C.E) respectively ruled Kamrupa from the 4th

to the 12th

century.53

Later on

Koch took over the Kamrupa followed by the Ahom. After that in 1826 the British

marked the boundaries of present district of Kamarupa.

There can be found four footpaths to reach the Kamakhya temple which is said to

be built by the Naraka. Among these paths only the north, east and western sides

seems to be popular among the pilgrims. Of the four paths the eastern path which

is known as Mekhelā-ujuwā was the most popular among the devotees. It is also

called Baghduar.54

Pilgrims had belief that whoever took this route for darshan

were blessed with success and prosperity and the path is full of rocks. The

15

Northern path which was from Pandunath was believed to provide salvation. This

path is known as Svargadvara. The people who take the route of western side

called Hanumanduar are blessed with gaining a kingdom Rajyalabha. Lastly, the

southern called Singhaduar is said to bring bad luck, even death.55

Earlier these paths were used by the pilgrims but after the construction of pitched

road pilgrims stopped using these routes. Only the northern and Eastern paths are

used. Only during the Ambuvachi festival the prescribed pilgrims take the route of

Northern side.56

Also, some of the pilgrims coming from western side had to cross

the river which was before the construction of Saraighat Bridge. There are a total

eleven Ghats on the bank of Brahmaputra starting from Kalipur the eastern lower

level of Nilachala Hill to Pandunath, the western lower level of Nilachala Hill.57

Thus pilgrims crossed the river to reach these Ghats and took the footpath which

leads to the temple. Later on in the year 1956 the road was constructed of three

kilometres on the southern side of the Nilachala Hill till the Kamakhya temple. In

the present day these well constructed roads are mostly used and the Ghats and the

western path are seldom used.58

Mother Goddess Kamakhya is worshipped in many different forms which gave rise

to different types of pujas, festivals and ceremonies. There are numerous rites and

rituals performed daily and some are annually. Thus Ambuvachi is one of the

festivals which is conducted annually and regarded as the most important one

which reflects the establishment of the temple. Ambuvachi is the celebration of the

potency of Mother Earth that is represented and personified as Devi. It has a

common belief that mother earth undergoes a menstruation once in a year and her

menstruation period is observed by her devotees as a sacred period. During this

period tantric practitioners make appearance and that use to remain seclusion

16

throughout the year. Also the devotees’ visits the temple for darshan. A huge

Ambuvachi mela (fair) is also held in Kamakhya during these days that draws lakhs

of devotees not only from nearby areas but also across India and neighbouring

countries as it is one of the biggest and significant.

There are various pujas and rituals performed in the Kamakhya temple complex.

The lists are as follows:

Nitya Puja: It is the daily ritual conducted in the Kamakhya temple i.e.,

morning, afternoon and evening. All the activities were managed by the Sevatis.

Kumari Puja, Durga Puja, Manasa Puja, Vasanti Puja, Pohan Bia, Durgadeul,

Madandeul and Kali puja: This pujas performed every year in their specified

month.

The two major fairs and festivals celebrated in Kamakhya temple is

Ambuvachi mela and Deodhani nirtya.

There are other rituals which are observed by the people. Bohag Bihu, Aksaya

Tritya observed in the month of April-May i.e., Vaisakha. Savitri Vrata, Phalahari

Kali puja, Campak Caturdasi observed in the month of May-June i.e., Jyestha.

Satha Vrata observed in the month of June-July i.e., Asadha. Manasa Puja,

Subhacani Puja, Apesvara Puja and Sitala Puja observed in the month of July-

August i.e., Sravana. Janmastami, Lalita Saptami, Suryya Puja observed in the

month of August-September i.e., Bhadrapada. Durga Puja, Laksmi Puja observed

in the month of September-October i.e., Asvina. Tulasi Puja, Dipavali, Bhaipota,

Jagaddhatri Puja, Uttan Ekadasi, is observed in the month of October-November

i.e., Kartikka. Carai-Vrata observed in the month of November-December i.e.,

Agrahayana. Pohan Bia, Uruka observed in the month of December-January i.e.,

17

Pausa. Magha Sankranti, Deul Puja, Sarasvati Puja, Magha Purnima is observed in

the month of January-February i.e., Magha. Sivaratri, Phakua observed in the

month of February-March i.e., Palguna. Asokastami, Rajarajesvari Puja, Candra

Arghya, Manantara Vrata, Kamya Puja is observed in the month of March-April

i.e., Caitra.

1.2. Statement of the Problem

There are various types of festivals celebrated at Kamakhya temple throughout the

year. Ambuvachi is considered as the prominent one among them. The festival is

different from others as it is gender specific and rituals differ from others.

However, there is lack of detailed information on Ambuvachi, which tends to be

the subject matter. There is an obscurity about the role played by women and how

they are treated during the festival. In addition, the practices and rituals are

managed by the priests of the temple who were mostly male. Hence, the festival is

about the celebration of the Goddess menstruation, the practices and rituals might

be conducted by the female priest. Thus, the work tries to look and analyse how

rites and rituals during this festival were done and how did it influence on the

people. It is an attempt to look deep in the particular festival and its impact on the

people.

1.3. Literature review

A large number of works can be found on the temple of Kamakhya. Some of the

detailed account of works has been done by K.L. Barua, S.L. Baruah, N.N.

Acharyya and Edward Gait.

18

H.K. Barpujari in his work “The Comprehensive History of Assam, Volume I”

gave a concrete details about the ancient Assam from pre-historic times to the

twelfth century C.E. Along with that, the author had present art, religion, social

and economic condition of the period. There is a detailed account of the religion

which was followed during the period. Banikanta Kakati’s “The Mother Goddess

Kamakhya” traced the origin and rise of the concept of Goddess Kamakhya, and

the uniqueness of the temple. According to the work, there is no image but yoni

has been sculptured and detailed various interpretation of the origin of yoni-

Goddess given in Kalikapurana and different features found in Yoginitantra. Then

the Kamkahya temple was destroyed in the early sixteenth century and the present

structure was rebuilt in 1565. It also showed how Kamarupa became the main

centre of Shakti worship. However, there is no detailed information given about

any of the festivals which are being celebrated at the Kamakhya temple.

In “Kamakhya: A Socio-Cultural Study” of Nihar Ranjan Mishra was a detailed

study of the Kamakhya temple along with origin of Shaktism in Assam and the,

process of sanskritization. It further detailed about the different royal dynasties of

various ethnic communities who had worshipped Mother Goddess Kamakhya in

her different names and forms in the past. The author had covered the rituals,

festivals that are observed in the Kamakhya temple and also the undergone

changes of rites related to the socio-cultural condition of temple priest. Then

among the traditions, rituals, festivals followed in Assam, the author gave specific

attention to Ambuvachi. Hence, about the Ambuvachi festival there can be found

thorough explanation on the mela(fair) which is held for four days. During this

time people refrain from going to the temple and doing any auspicious. Since the

temple celebrates several festivals as well as rituals, the resident includes the

19

Brahmins and the communities. Therefore, the author while explaining the socio-

cultural life of the people in the Kamakhya temple had tried to trace the family

system and their livelihood.

Priyam Goswami in her work “Kamakhya: The Mother Goddess” has given full

illustration about the Nilachala Hill where the sacred Shakti Pitha has been

worshipped from the ancient times and the ten manifestations of Devi

‘Dasamahaidya’. There are several stories relating to the origin of these

manifested forms of Devi. Also there is description the sculptures and architectural

style which represents different period and dynasties. While explaining about the

festival and fairs, the author had mentioned that apart from religious and ritualistic

significance, these festivals have contributed to the rich cultural fabric of the

region. Though, there is explanation on some festivals like Deodhani dance

festival, Kumari puja, Manasa puja, but regarding Ambuvachi the author has given

the same information alike the others like conducting of mela, angavastra.

Vivekananda Kendra institute of culture’s publication, “Heritage of Kamakhya on

the Nilachala Hill” is based on field investigation conducted under the guidance of

Dr. Pradip Sarma the project director. This book traces abundant of information on

the history of Kamakhya starting from the Nilachala hill, incarnations of Devi, the

various rites and rituals, the different fairs and the festivals and the architecture.

Thus, specifying about the Ambuvachi festival, here the author had tried to

describe about the origin, legends and about the actual Sadhus who has been

conducting this festival from the beginning.

Parimal Kumar Datta’s work “Kamakhya tantra and the mysterious history of

Kamakhya” gives an exclusive study on the history of Kamakhya. Here the author

20

had thoroughly explained about the derivation and meaning of Kamakhya, origin

and along with that the mythological history of the Pitha of Kamkahya then the

story of Mother Kamakhya with Narakasura, Vasistha, Naranarayana and Chilarai.

Regarding the festival a specified story was mentioned which is not mentioned by

some other authors, tantra says that ‘God Varaha, the boar incarnation of Lord

Vishnu, rescued Vasumati or Earth from the water of Sindhu (i.e. sea), Where she

was hidden by Hiranyaksa. At that time Vasumati was in her menstruous period

and physical relation between Vasumati and Varaha resulted in the birth of Naraka,

the ancient King of Assam. It is stated that the devatas raised various types of

obstacles to stop the birth of Naraka, as this birth was likely to bring misfortune to

all, but they failed to do so because of the intervention of Vishnu. The tantrikas

believe that Naraka, the son of Varaha, became very powerful but was oppressive

because of his unusual birth. Apart, Atpariyas is also mentioned who clean the

Garbhagriha when Ambuvachi is over and help to bring the piled cloth from the

Yoni mandala.

“The History of Civilization of the people of Assam to the 12th

century A.D”, was

considered as one of the important research papers of P.C. Choudhury. It contains

different aspects like cultural, social, political and religious life of medieval

Assam. It discussed the association of Shaktism and Tantrism with Kamraupa, as

an important centre of Devi worship. However, the author did not give any

description about the rituals of the Kamakhya temple and its other features. In most

of the above mentioned book there is the same description given about the

Ambuvachi festival.

21

1.4. Objectives

1. To focus the historical background of the Kamakhya temple.

2. To analyse the rites and rituals of the Ambuvachi festival.

3. To explore the impact of Ambuvachi festival on society.

1.5. Methodology

This study uses the methodologies of gender studies and religious history. The

work used both the primary as well as the secondary sources. The primary sources

are included on the Puranas and the accounts. Whereas the history, origin and

other materials is collected from secondary sources based on the reviews and

references, published sources, books and journals.

From the Foundation for History and Heritage Studies a research organization,

reference library and archives (A Charitable Trust Registered Under the Indian

Trusts act, 1882) vivid information has been known consulting Rajib Sarma, a

priest.

1.6. Chapterization

The first chapter Introduction consists’ methodology, objectives, chapterization,

and statement of the problem and review of chapters.

The second chapter, “Historical Background of the Kamakhya Temple,” gives

the detailed account of the historical background and extensive mythological

stories of the temple.

The third chapter, “Ambuvachi Festival as a Historical Study,” deals with the

rites and rituals that are followed during the Ambubachi festival. It will also focus

22

on the role and responsibility attested with the priest of the temple in conducting

the pujas during the festival.

The fourth chapter, “Ambuvachi Festival and its Impact on Society,” examines

the influence of this festival on common masses. This chapter tends to analyse how

this festival is perceived by the people.

The fifth chapter, Conclusion, will analyse the chapters and summarize them.

Endnotes

1 North, Douglas C. “Institutions” The Journal of Economic Perspectives (American Economic

Associations) 1991: 97.

2 Eliot, Charles. Hinduism and Buddhism I. London: Rutledge and Kegan Paul ltd. 1962: 278-279;

Edward Gait. A History of Assam. Guwahati. Lawyers Book Stall Publications, 2015: 59.

3 Shastri, B.N. Ed. The Kalikapurana. Delhi: Nag Prakashan, 2018: 420; 58/42.

4 Vasu, N.N. The Social History of Kamarupa, Vol, New Delhi: Northern Book Centre, 1986: 64

5 Maity, Pradyot Kumar. Historical studies in the Cult of Goddess Manasa, Kolkata: Punthi Pustak,

2001: 70.

6 Suryah, P.S. Temple Sculptures of Assam. Delhi: Pacific Books International, 2017:196. Pradyot

Kumar Maity, Ibid., 71.

7 Foulston, Lynn and Stuart Abbott. Hindu Goddesses Beliefs and Practices, Portland: Academic

Press, 2009:10.

8 Marshall, J. Mohenjo-Daro and the Indus Civilization, London: 1936: 51.

9 Ibid., 58

10 Williams, Moiner. Brahmanism and Hinduism, NewYork: Macmillan and Co., 1891: 187.

11 Gait, Edward. Op.cit., 2015: 58.

12 Vasu, N.N. Op.cit., 1986: 67.

13 Sharma, M.M. Inscriptions of Ancient Assam. Gauhati, 1978: 23,52.

14 Ibid., 1978:111,123.

23

15

Datta, Parimal Kumar. Kamakhyatantra and The Mysterious History of Kamakhya. Kolkata:

Punthi Pustak, 2017: 153.

16 Shastri, B.N.2018.Op.cit., 457.62/57.

17 Mishra, Nihar. Ranjan. Kamakhya- A Socio-Cultural Study, New Delhi: D.K. Print world Ltd.

2004: 195.

18 Sarma, Pradip. Holy Shrines of Assam, Delhi: B.R. Publishing Corporation Ltd, 1940: 13-14.

19 Ibid., 22.

20 Ibid., 39,40.

21 Shastri, B.N. 2018. Op.cit., 97, 98;18/41-51.

22 Sircar, D.C. The Sakta Pithas, Delhi: Motilal Banarasidas, 1973: 3,17,18.

23 Ibid., 27 28.

24 Datta, Parimal Kumar. 2017. Op.cit., 123.

25 Ibid., 124-125.

26 Ibid., 123-125.

27 Foulston, Lynn and Stuart Abbott. 2009. Op.cit., 104.

28 Barpujari, H.K. The Comprehensive History of Assam, Guwahati: Publication Board Assam,

2014: 317.

29 Shastri, B N. Yoginitantra, Delhi: Bharatiya Vidya Prakashan, 1982: xxxvi.

30 Mishra, Nihar. Ranjan, 2004. Op.cit., 2-3.

31 Shastri, B N. 1982. Op.cit., xxxi-xxxii.

32 Pragiter, F Eden. Ed. Markendeya Purana. Calcutta: Asiatic Society of Bengal, 1904: 328.

33 Shastri, B.N. 2018, Op.cit., 245; 38/123.

34 Ibid., 363; 51/76-77.

35 Ibid., 363; 51/78.

36 Ibid., 363; 51/72-73.

37 Kakati, B.K. The Mother Goddess Kamakhya, Guwahati: Publication Board Assam, 2004: 38.

38 Shastri, B N. 1982. Op.cit., xl.

39 Ibid., xxxiii.

40 Barpujari, H K. 2014. Op.cit., 73.

41 Ibid., 73.

24

42

Gait, Edward. 2015. Op.cit.,15.

43 Bahadur, Rai K.L Barua. Early History of Kamarupa, Shillong: 1933: 13.

44 Shastri, B.N. 2018. Op.cit., 245-246; 38/126-127.

45 Shastri, B.N. 1982. Op.cit., xl.

46 Gait,Edward. 2015. Op.cit.,11.

47 Kakati, B.K. 2004. Op.cit., 7.

48 Bahadur, Rai K.L Barua. 1933. Op.cit., 7.

49 Barua, B.K. A Cultural History of Assam, Assam, 1951: 5.

50 Kakati, B.K. Assamese Its formation and Development, Gauhati: Department of Historical and

Antiquarian Studies, 1941:32,47. Barua, B.K. Ibid., 1951: 1/ P.C.Choudhury, The History of

civilization of the people of Assam, Gauhati, 1959: 88,89.

51 Sarma, Hemanta Kumar. Socio-Religious Life of the Hindus, New Delhi: Omsons Prakash House,

1997: 4.

52 Acharyya, N N. A Brief History of Assam, Guwahati: Omsons Publications, 2018: 14.

53 Ibid., 19,30,35.

54 Mazumdar, Jaideep and Parathasarathi Mahanta. Kamakhya, Guwahati: Pi Publications, 2013: 47.

55 Sarma, Pradip. “The Nilachala Hill”. Heritage of Kamakhya on the Nilachala Hill. Guwahati:

Vivekananda Kendra Institute of Culture, 2010: 3.

56 Mazumdar, Jaideep and Parathasarathi Mahanta. 2013. Op.cit., 50.

57 Ibid., 3.

58 Ibid., 3.

25

CHAPTER-II

HISTORICAL BACKGROUND OF THE KAMAKHYA TEMPLE

Introduction

Temple as the place of Gods and Goddesses holds abundant of information’s within it.

There are multiples such as religion one of the basic reasons for the establishment of

the temple, then its historicity which explains about the location, the legends and

myths associated with it and also as social institution deals with customs, traditions

and many other practices. In the same way, the historical background of Kamakhya

temple can be explained. The Kalikapurana, Yoginitantra, Kamakhyatantra and other

Puranas give the detailed account of the temple and the worship of deity.

2.1. Myths of the Kamakhya Temple

The abode of Mother Goddess Kamakhya is Nilachala Hill, Guwahati situated on the

bank of river Brahmaputra. In the Kalikapurana, Nilachala has been mentioned as

Nīlākuta, Nīlāparvata, Nīlgīrī, Kāmagiri and Kāmaparvata.1 The whole of Nilachala

Mountain represents the body of Lord Shiva and is famous for the Pitha (shrine) of

Devi Kamakhya. It is said that different parts of the body of Sati fell all on the earth

and thus these places are revered as Shakti Pithas. According to Kamakhyatantra the

goddess is worshipped in five different forms Kamakhya, Tripurasundari, Kāmeśvarī,

Śaradā and Mahāmāyā.2 Also inside the main temple of Kamakhya three goddesses

are worshipped Tripurasundari, Matangi and Kamala.

There are different points of view over the derivation of the name Kamakhya.

Scholars opined that the name Kamakhya was varied from community to community.

The scholar, Banikanta Kakati remarked, that the word Kamakhya has probably

26

derived from the Austric formation such as kamoi (demon) in khmer, kamoit (devil) in

cham, kamet (corpse) in khasi and komui (grave) or komouch (corpse) in Santali.3 The

goddess Kamakhya is also praised by many communities Ahom, Tipras, Rabhas and

Jaintias. From earlier times different communities had signified the goddess

Kamakhya with their own traditional name. Thus, according to the tradition of Bodo-

Kachari’s Kamakhya is referred as Kham Maikha and for the Garos, Nuting, Muring

she is referred as the energy behind creation.4 P.C. Choudhury mentioned that the

yoni-goddess migrated to Assam with the arrival of the Austrics or the matriarchal

tribes like the Khasis and the Garos and the Naraka were considered to be responsible

for the foundation of Devi worship in Kamarupa.5 In the Kalikapurana it has been

mentioned that Kiratas were also the worshippers of Mother Goddess Kamakhya and

the original inhabitants of Kamarupa.6 Even in the Yoginitantra, it has been described

that the worshiping of yoni pitha is of Kirata origin.7 As the Kamarupa in the present

day has become the residence of diverse tribes, the word Kirata needs an explanation.

The term Kirata indicates tribes living in the mountainous country, mainly the

Himalayas and the North-eastern areas of India.8

2.1.1. Dasamahavidya, the ten incarnations of Devi

There are ten forms of Devi; Kali, Tara, Sodasi, Bhuvaneswari, Bhairavi,

Chinnamasta, Dhumavati, Bagalamukhi, Matangi and Kamalamika.9 Devi is both

vidyā and avidyā and is called Mahāvidyā10

i.e. mahā means great and vidyā means

knowledge. As mentioned in Kalikapurana, there are ten different Pithas in the

Nilachala hill where incarnated forms of Sati are worshipped and together are called

Dasamahāvidyā i.e. dasa (ten), mahāvidyā (great divinities).11

These ten forms of

great goddess are venerated in the different temples and each of Devi’s manifested

forms holds essential stories of their formation and for the welfare of the universe.

27

2.1.2. Kali

The first rūpa or form of Sati was Kali that represents Ichāśhakti or the power of

supreme desire.12

Kali is referred as the goddess of death and the ruthless killer.

Usually the image of Kali is depicted as a woman who is mounted on the dead body

with terrible ferocious bangs, naked and dark in complexion, with her lolling tongue

wearing a garland of fifty two skulls and a skirt made of dismembered arms. It is said

that Kali and her consort Shiva dwell in the cremation grounds that symbolize body as

temporary like ego. The goddess has four hands in two of her hand she holds a sword

and severed head depicting her immense strength and the other two for giving boon to

her devotees, providing moksha. Chitśaktisvarūpiṇī Khadga13

is the only weapon Kali

carries. According to vidhis and tantras, it should be worshipped as an annual event of

new moon in the night of autumn14

. Kali is worshipped mainly on Saturdays the day

of planet Sani (Saturn).15

In general, Kali has two personalities’ dakṣiṇa kali and

bhadra kali.16

2.1.3. Tara

The second of the mahāvidyā is Tara, the deity of the planet Ketu. She is described in

a fierce way with dark blue complexion and dressed in tiger skin, wears a garland of

human heads and adorned with paṇchamudrā17

and has three eyes with four hands in

two of it the goddess carries sacrificial swords khadga and kartri and lotus in the

other two. The goddess Tara has the ability to endure stress, to create, sustain and

protect. Also the tantric book depicts Tara as Ugra Tara, Nila Saraswati and Ekajata.18

28

2.1.4. Sodasi

Sodasi is the third of mahāvidyās, which is regarded as the deity of planet Budh

(mercury) that worshipped on Wednesday. Sodasha means sixteen therefore the

goddess is represented as sixteen year old girl with the belief to embody sixteen types

of desire. She is also known as Tripurasundari meaning beauty of three cities whereas

pura stands for city, place or field of action and trip denotes the threefold field.19

This

goddess has third eye on her forehead, four-armed holding five arrows or flowers

classified as the five senses, a noose classified as attachment, then a goad classified as

repulsion and a sugarcane bow classified as the mind. Also the goddess jeweled richly

sits on a lotus laid on a golden throne, upheld by Brahma, Vishnu, Rudra and Indra.

2.1.5. Bhuvanesvari

The fourth mahāvidyā, Bhuvanesvari stands for the concept of space. Her planet is

Shukra (Venus) and the special puja is offered on Fridays. Bhubanesvari means the

queen or ruler of the universe20

and is depicted as having four hands, two holds the

noose and goad, even wears a crescent on her forehead and her vehicle is tiger. She is

jnana shakti, the knowledge-force of the supreme21

who plays the role of creator and

protector. Other names of the goddess Bhubanesvari are Nava Durga, Aditi and

Prakriti.22

2.1.6. Bhairavi

Bhairavi is identified with the functions of creation, maintenance and destruction. She

is the only deity who is not dedicated to any of the planet but is known as the guardian

deity of bhur, buvah and swah. The Bhairavi Pitha of Kamakhya is called as Tripura

Bhairavi. She is worshipped in thirteen different forms.23

Tripura Bhairavi is depicted

29

as a four handed figure, who seat on lotus holding a triśūla or trident in her left hand,

wears silken red cloth, for sacrifice tortoise, duck, pigeon, catfish are offered and is

worshipped on Sundays.

2.1.7. Chinnamasta

Chinnamasta is a goddess who had beheaded herself and holds with her own hand.

She is associated with the deity Rahu. The Goddess is portrayed as naked or dressed

scantily standing on a couple Rati and Manmatha holding her own severed head with

her two attendants’ Dākini and Bārnini.24

She represents the spiritual energy and

concept of self-sacrifice.

2.1.8. Dhumavati

According to the scriptures, Dhumavati is the first and foremost creation claimed as

jyeṣṭhā the eldest. Dhumavati is worshipped as the deity of Brhasparti (Jupiter) and

special prayers offered on Thursdays. The Goddess is often depicted as an old widow

with pale complexion, sagging breasts, big nose and a toothless mouth who rides a

chariot drawn by crow. She is described as a giver, granter of all the desires and a

rescuer from the troubles. As for her rough behavior she was also called as Vivarṇā,

Chanchalā and Ruṣṭā.25

2.1.9. Bagalamukhi

The Goddess was said to paralyze all her enemies’ with speech vāk stambhanakari26

but gives her devotee the power to overcome hostile force and negative thoughts. She

was the presiding deity of planet mangal (Mars) and worshipped on Tuesday.

Bagalamukhi is depicted with the yellow color. Her complexion, garment and

garments are all yellow. She wears a crescent moon on her head and seats on a golden

30

throne in the midst of an ocean full of yellow Lotus. She holds a mace in her right

hand and with the left she pulls the tongue of the demon. The worshipper of

Bagalamukhi is asked to be clad in yellow and perform the japa of the mantra with

the beads made out of turmeric. The materials used in her puja are all of yellow like

chili, turmeric, puffed rice, white mustard, black salt any kind of yellow fruit and

flowers. Goat, buffalo, catfish, duck, pigeon, pumpkin, sugarcane, coconut etc are

sacrificed on her puja. The worshipper of Bagalamukhi performs the japa of mantra

with the help of beads made out of turmeric. Often she is referred as Pitambara-devi

and Bakamukhi, who makes the opponent duck-faced.

2.1.10. Matangi

Matangi occupies the ninth position in the dasamahāvidyā and the presiding planet is

Sun. The Goddess is considered to be the tantric form of Saraswati, the goddess of

music and learning. Same as Saraswati she governs speech, music, knowledge, art

which is indicated by the parrot in her hand and thus praised as keera karā. Matangi

represents worldly power since all human affairs need maintenance, therefore is called

Rājmatangī or the Matangi of kings and lords.27

The Goddess has various

complexions like śyāmalā, the dark one, greenish dark, marakata śyāma and bluish

dark. Like other mahāvidyās she is also depicted as having three eyes with smiling

face, her clothes and ornaments are red in color, her garland is made of kadamba

flower. She is termed as sixteen year old, has a slim waist holding a skull and on the

other hand Khetaka (shield).

2.1.11. Kamala

The last and the tenth mahāvidyā is Kamala or Kamalamika. The puja for this

goddess starts on pratipāda or the first day of chaitra month and comes to an end in

31

the purnima or full moon day28

, thus her presiding planet is Chandra (moon). This

puja is also called Trikālīn puja and red Karabī flower is considered as the essential

one and is performed on Mondays. Also during the time of Deodhani, Kamala puja is

conducted. The name Kamala means “lotus” and has been identified with goddess

Lakshmi and considered as the goddess of divine beauty, prosperity and generosity.

She is depicted as beautiful goddess with golden skin stands on a lotus flower holding

aloft two lotus flowers, dressed in white silk and is constantly bathed by four

elephants. Both Matangi and Kamala have Pitha known as manobhava guha.29

These are the ten incarnation of Sati. It can be seen that there are no figures of any

deity worshipped in the temple of Nilachala hill but the image of the deities were

invoked as described in the vidhis and tantras. In the Kalikapuranam, there is a brief

description of Mother Goddess Kamakhya. She is said to be yellow in color. Her ears

are decorated with golden ornaments. She has three eyes and makes the gesture of

assurance and conferring boons, sits on a red lotus. She is called Siddhā Kāmeśvari.

Men and kings bow down their heads before her and grants desires and fulfill the

wishes. She looked as radiant as the rising sun. She grants excessive wealth and has a

smiling face. Her quick movement is equaled to the movement of wind. She is gentle

as the crescent and sits with the yonimudrā on the Kāmāgiri.30

The Dhyāna, the divine contemplation of Kamakhya given in Kamakhyatantra31

describes Kamakhya Devi as Bhavānī was the consort of Lord Siva dressed in

beautiful garments with a woven silk-cloth in her loin, wears ornaments, has three

eyes, has a smiling face, also can conquer the beauty of the blue clouds by her grace.

She is worshipped by Brahma, Vishnu and Shiva and skilled in the application of the

arrow of Kama (Cupid). She is a woman (Kāminī) who grants sexual desire, Yonirūpā

32

(form of Vagina) and destroyed all the sins of the kaliyuga. She sat on the jeweled

throne which is placed under the Kalpavṛkṣa.32

In the Kalikapurana, the goddess Kamakhya is described as of saffron-yellow color,

stands on the white ghosts, wears a rosary, holds a siddha-sutra in her two hand and

the postures of her other two hands are in boon granting and safety providing. 33

2.2. Mythological story described in Kalikapurana

The first and the foremost story of Kamakhya temple is how it got established, story

of Sati and Shiva. The common story has been known from Kalikapurana34

that once

Daksa who was a great sage and father of Sati gave a sacrifice (Yajna) called

Sarvajana, for the welfare of all the living beings. There Daksa had invited the whole

creatures who abode in the universe from Gods to human beings and animals. The list

further included the mountains and the trees. However, Daksa decided not to invite

Shiva and Sati. According to him, Shiva is a Kapali (wearer of human-skull) and

hence not eligible for the yajna and Sati was his wife. Sati angered to know about the

sacrifice visited the yajna. However, Daksa insulted Shiva in front of her and being

not able to bear her husband’s insult, Sati gave up her life and her eyes turning red in

anger by adopting a posture of yoga. She closed all the nine doors in her body and

made a distinguished sound sphota.35

With that sound of sphota her spirit went out

from her body by breaking the tenth door.36

Meanwhile, Shiva performs his pratah sandhya (morning oblation and prayer) in the

beautiful lake of Manasa. He was returning to his hermitage where he heard pitiable

wailing by Vijaya, daughter of Sati’s sister. Hurriedly went to the sacrificial ground

where he found his beloved wife Sati dead. Shiva heard the detailed incident from

Vijaya he became furious and lost his sense. Then carrying the dead body of Sati on

33

his shoulder began to wander around the universe. Brahma, Vishnu and other Gods

observed the condition of Shiva and decided to detach the body of Sati. Vishnu pieces

the body of Sati with the Sudarśana (discus) of Vishnu.37

The body part felled all over

the earth and which were turned into Shakti Pitha (temples). The pair of feet fell at

Devikūta, the pair of thighs fell at Uddiyāna and the female pudenda fell on the

mountain named Kāmagiri in Kamarupa and the naval fell there on the ground, the

pair of breasts was adorned with the golden chain and fell at Jȧlandhara, the arms

along with the neck fell on the mountain, named Pūrnagiri her head fell beyond the

region of Kamarupa.38

Hence, the place where the genital organ of Sati felled became

one of the prominent temple of Kamarupa i.e. Kamakhya Temple. Since, the goddess

came secretly to satisfy her amour Kama with Shiva in the Nilachala hill. Therefore,

she is called as Kamakhya.

2.3. Kamakhya Devi and Naraka

There is another legend related to Kamakhya Devi and its prominent figure was

Naraka, who was depicted as dvārapāla or gate keeper of Kamakhya Devi.39

Naraka

was the son of Varaha (the boar incarnation of Vishnu) and the goddess Prthvi who

was turned into demon. Coincidently, Naraka was born out of the sexual intercourse

by Varaha and Prthvi, who was then impure on account of her monthly course.40

He

was considered to be born as demon. After the birth of Naraka, he was sent to king

Janaka (mighty king of Videha) to get all the lessons that were required to become a

ruler of the particular kingdom. During the period Prthvi mother of Naraka disguised

as a nurse with name Katyayani41

at the residence of Janaka and never leaved his side,

till he reached the age of sixteen. As there was a promise kept between the king

Janaka and the goddess Prthvi, when Naraka was about to complete his sixteen years

She brought him to the bank of river Ganga and told him who were his real father and

34

mother. Vishnu the actual father of Naraka arrived there and brought them to

Pragjyotisapura situated in the midst of Kamarupa, where Kamakhya is the presiding

deity.42

But the kingdom was inhabited by the Kirata people, with the leadership of

king Ghataka. The Kiratas were described as foolish with cruel character and had

shaven heads.43

Naraka with the help of Lord Shiva killed the Kirata king and his

generals and the soldiers. Some of the kiratas fled away and others surrendered to

Naraka. Then Naraka went to his father to pay his obeisance after killing Ghataka. For

which Vishnu gave the kingdom Pragjyotispura his son Naraka to reign for years

attaining wealth, gems, elephants, horses and chariots. It is known that Naraka ruled

for around twenty five thousand years.44

Vishnu told him (Naraka) to worship only

the great Mother Goddess Kamakhya, to respect the Brahmins, sages, kings and Gods

and also gave him the management of Kamakhya Pitha.

The age of tretā (Tretā yuga) been passed to the end of the age of dvāpara (Dvāpara-

yuga) there ruled a great demon king by the name Bana over the Kingdom of

Sonitapura.45

Naraka had developed a close friendship with Bana who was the son of

Bali. During this period Naraka began to stop worshipping goddess Kamakhya,

honoring the Brahmans and stopped performing sacrifices and offering gifts.

Therefore, due to this negligence Naraka was killed. According to the Kalikapurana,

the legend portrays that one day Vasiṣṭha, son of Brahma, the superior most of the

sages had come to the city of Pragjyotish to visit Kamakhya Devi. But he was not

allowed to enter for which the sage became angry and cursed Naraka that within a

short time he will be killed by his own father Vishnu in a human form. And along

with that Goddess Kamakhya, the mother of the world would disappear with all her

attendants from the kingdom of Naraka i.e. Pragjyotish. After all this Naraka as for

35

the misdeed was killed by his own creator Vishnu and a new ruler Bhagadatta was

installed on the throne.

2.4. Mythological story described in Yoginitantra

The legend related to the Kamakhya in Yoginitantra mentioned that the original deity

of the Kamakhya temple is Kali as she is being surrounded by several yoginis.46

The

episode described in the Tantra goes this way Brahma after creating the beautiful

universe became arrogant of his creativity and power. Hence to teach Brahma lesson

the Goddess Kali created a demon named Kesi out of Brahma’s pride and arrogance

but the demon as soon as he was born rushed towards Brahma to swallow. The demon

Kesi had also established his own city named Kesipur, from where he started to rule

the whole universe and started creating havoc. Consequently, Brahma used to hear a

menacing voice in the air, ‘Kill Brahma’.47

Realizing his foolish behavior as no one

could kill the demon, so Vishnu and Brahma went to Kali and prayed to get rid of

Kesi. She then killed Kesi and burnt him to ashes. After that Kali ordered Brahma to

worship the genital sphere (yoni circle) which was originated from her own blood for

the maintenance of the universe. The yoni circle was placed in Kamarupa along with

that there are nine other such spheres.48

This is how the Kamakhya temple got

established according to Yoginitantra.

In the Yogintantantra, there is a similar story of Naraka as portrayed in Kalikapurana.

Naraka son of Vishnu and the mother Earth was made the king of Pragjyotispura

(Kamarupa) by his father Vishnu at the behest of Prthvi. There Naraka defeated the

last kirata king for which Vishnu told him about the yonimandala (circle of vagina)

and advised him to worship her.49

The coming of Vasistha, the son of Brahma who

36

was propitiating Tara came to Nilachala hill to visit Kamakhya temple is also

mentioned.

2.5. Naraka’s marriage proposal to Goddess Kamakhya

Another story of Naraka which is still heard in the localities of Assam goes like this.

One day suddenly Naraka proposed Mother Kamakhya to marry. To teach a lesson

she agreed to the proposal with condition that Naraka must build a path from the foot

of the Nilachala Hill to the top where the Kamakhya Temple exists and a tank near

this temple within a single night.50

Naraka accepted the challenge and started the

construction with a great speed. Seeing that he might complete within the given time

Devi decided to block the progress and sent a cock to crow to declare the dawn even

though it was too early. When the cock started crowing, an angry Naraka chased and

slaughter the cock. Lastly, Naraka could not complete the challenge. At present the

place where the cock was killed is known as Kukurākatā51

(i.e. kukurā, a cock and

katā, to kill) and the path that was constructed is called Mekhelā ujuwā bāt.52

This

path is considered as the most popular and devotees of the Mother Goddess

Kamakhya who walked by this route are believed to be blessed with prosperity.

2.6. The Historicity of Kamakhya Temple

Before the Koches and the Ahoms, Assam was ruled by Varman dynasty belongs to

the family of Bhagadatta53

, descendant of Naraka then Salastamba and Pala dynasty.

Though during the reign of these dynasties there is no clear information mentioned

about the Shaktism or Mother Goddess Kamakhya. The Palas of Kamarupa were said

to worship Kameswara Maha-Gauri Devi and the Salastambas had constructed the

second Kamakhya temple on the Kamakuta hill near Silaghat.54

Therefore only in the

37

period of Koch and the Ahom details about the Shaktism and the Kamakhya temple

can be found.

From the Kalikapurana, it is known that a town Puri was built at Nilachal hill.55

But

at present, there cannot be seen any trace of the ancient town in this area instead

modern structures of different types are built now along with the Kamkhya temple.

Even the actual structure of the temple in the ancient period is not known only the

recent structure which was renovated by the Koch rulers is there and in present outer

surface of the temple is rebuilt.

2.6.1. Kamakhya Temple and the Koch Kings

The Koches were referred as Kuvacha according to the Puranas and the tantras.56

At

around 16th

Century C.E. the Koches established their kingdom. They are called

‘Rajbansis’ i.e., the descendant of Royal Race in the region Cooch Behar and Western

Assam.57

Haria Mandal was the progenitor of the Koch Royal family who married the

two daughters Hira and Jira of Hajo’s King.58

He had two sons from both of his wife.

Biswa Singha’s mother was Hira and Siba Singha’s mother was Jira. Later on, Biswa

Singha ascended the throne after his father’s death.

2.6.1.1. Biswa Singha

The Koch ruled Assam from 1515 to 1635 CE59

and Biswa Singha was the first Koch

king. Biswa Singha followed and spread the Sakta cult further. It was considered as

the significant historical mark in the reconstruction of the Kamakhya temple.

According to Sir Edward Gait, Biswa Singha worshipped Shiva and Durga and gave

gifts to the disciples of Vishnu and to the priests and astrologers. He revived the

worship of Kamakhya and rebuilt her temple on the Nilachala hill of Guwahati and

38

brought Brahmins from Kanauj, Benaras and other centre of learning.60

Therefore, it

can be assumed that Biswa Singha was the first ruler who had constructed the temple

of Mother Goddess Kamakhya.

There was a story, how Biswa Singha encountered Mother Goddess Kamakhya. Once,

the King Biswa Singha was engaged in a war with the Ahom. The heavy rain and

strong winds cut off the soldiers of Biswa Singha and his brother Siva Singha. They

could not find their soldiers and lost their way to the Nilachala Hill. Suddenly, they

noticed a light, heading towards found a banyan tree. There an old lady was

worshipping a heap of soil without an image or idol. When the puja got over, they

asked for water to drink, she told them to drink from the fountain. Biswa Singha

asked about the heap of soil and came to know that it was the mound of Pitha. She

mentioned that the mound itself was the form of the mighty Goddess and she always

fulfills the desire of her devotees. Hearing these two brothers bowed down their heads

and prayed to help them to find their soldiers. They promised to construct a temple of

gold on the Pitha, if their prayer fulfilled. They found their army after and they

realized the grace of Goddess.

Biswa Singha was interested to check the existence of the Goddess. He dropped three

pieces of reed and a diamond ring in the pond created by the fountain from where they

drank water and stated that he will believe in the divine power of Goddess, if he could

find these things in the river Ganga at the holy city of Varanasi. After that the two

brothers came back to their Kingdom and years passed away. Biswa Singha forgot

about the incident and his promise. Once he visited Varanasi to take a ritualistic bath,

there he found the diamond ring which reminded him of his commitment to build the

temple of gold for Goddess at Nilachala Hill. Biswa Singha consulted his scholars and

39

pandits about the incident. After studying the different tantra and ancient books the

scholars and pandits informed the king that the Nilachala Hill where he had spent a

night and met the old lady is the greatest and the most powerful Shakti Pitha of

Mother Durga (Mother Kamkahya).61

The King decided to construct the temple and

excavate the site thoroughly. They found the main Pitha of the yonimandala. In the

beginning, they built a shrine with brick instead of gold but it kept on breaking

repeatedly. The king could not understand the cause of that. He reminded about the

promise that construction of a golden temple of the Mother Goddess. However he

realized his ability to build the temple with gold. Mother Goddess Kamakhya was

pleased with the honesty of Biswa Singha and advised him to put a rati (very small

amount) of gold in each bricks and to begin the construct of temple. As the king

followed the direction of Mother Goddess, the construction got completed within a

short period. For the management of the temple, Biswa Singha appointed around

seventy two priest from Soalkuchi of Assam.

2.6.1.2. Naranarayana

Malladeva, son of Biswa Singha ascended the throne after the death of his father in

1540 CE.62

He later assumed a name Naranarayana and appointed his brother

Sukladhvaja as commander-in-chief. He was a great warrior and nick named as

Chilarai or Kite-king.63

Naranarayana engaged in many battles with Ahoms,

Kachari’s conquered the Jantia kingdom, Tippera and Sylhet. After the battle

Naranarayana and Chilarai came back to Kamrupa and heard about the attack of

Kalapahar who was the general of Sulaiman Karbani, Nawab of Gaur, Bihar and

Orissa. He not only attacked Kamarupa but also destroyed the temple Kamakhya.

Therefore, both the brothers decided to retaliate against Kalapahar and the Nawab of

Gaur but were defeated and Chilarai was taken captive.

40

It was said that Koches lost the battle against the Nawab of Gaur because of their own

mistake. They did not re-build the temple before the war. Chilarai was kept in the

prison where Mother Goddess Kamakhya appeared in his dream and said that his

defeat was due to the fact that he has not renovated the temple before waging the war

against Nawab. Chilarai apologized for his mistake, upon which the Mother Goddess

gave him another chance to correct. She asked Chilarai to follow her instructions.

Nawab’s mother who will be bitten by a poisonous snake should be cured by him and

she will help him.64

Chilarai’s dream actually happened. However, all the physicians

of Nawab and the snake-charmers failed to cure. As instructed by Goddess Kamakhya

Chilarai sent the message to the Nawab that he could cure his mother because he had

possessed the mantra of curing snake-bitten people. Then, taking the name of Mother

Goddess, Chilarai took out the poison of the snake from the body of Nawabs mother

and cured her. Out of the gratitude the Nawab released Chilarai and the two brothers

planned to re-build the temple.

For the task of rebuilding the temple, Mahatram Vaisya65

was appointed but the

money was squandered away for this reason he was discharged for embezzlement.

Naranarayaṇa gave the responsibility to his general Meghakumudan in 1555 CE. At

first attempt, Meghakumudan failed to construct the temple. As like Goddess

appeared in other rulers dream she also appeared in Meghakumudan’s dream and

advised him to construct with the brick fried in clarified butter. Following the advice

without any obstacles the temple was completed within six months. It is engraved in

an inscription of Naranarayana in the mandapa (hall) of Kamakhya temple, that the

reconstruction was done in saka 1487 i.e. 1565 CE.66

From the record of Darrang

Rajvamsavali, it is found that Naranarayaṇa and his brother, Chilarai, came to

inaugurate the temple and offered three lakh units of homa (fire rituals including

41

sacrificial performance) and granted seven kudi pāik, (kudi stands for score and pāik

for servitors) by issuing a copper plate charter for the management of the temple.67

The inauguration program of the temple was also done where King Naranarayaṇa, his

wife Banumati, Chilarai and his wife Chandraprabha along with their attendants

participated in the ritual which was arranged in a big way for the occasion. Where

both the brothers took a vow (vrata) and remained without food for seven days and

got the inaugural function celebrated by offering three lakh of homa and one lakh

animal sacrifices and made full provision for regular worship in the future. Along

with the animal sacrifice the king had also offered heads of hundred and forty men to

the Goddess.68

In this connection, the king provided seven scores of servitors for the

temple and issued copper-plate charter to that effect.69

In spite of their dedication and contribution towards the Mother Goddess, the

kingdom had been cursed. Here comes the incident, A Brahmin priest named

Kendukalai used to worship goddess Kamakhya with rare devotion and sincerely

performs sandhyarati which means waving of light before an image in the evening.

The priest was skilled in music, dance and also chants hymns. Mother Goddess

Kamakhya was highly pleased with the music and desired that she would perform her

līlā (a play and dance) with Kendukalāi. She began to appear daily before him in that

particular hour but warned him not to disclose in front of others. As, about the

appearance and dance could not be kept secret for many days. Thus it so happened

that the Koch king Naranarayaṇa heard and desired to see the sight of divine dance of

goddess with his own naked eyes. He came to the temple and requested Kendukalai to

allow him at least a glimpse of the dancing goddess from outside. Kendukalai refused

at first and said that with the grace of king he could maintain his family by priesthood.

But will not be able to accede to his request. It is not good to plan a trick on Mother

42

Kamakhya. Kendukalai suggested the king to chant her name with much devotion

then she might appear before you.70

But Kendukalai was pressured by the king and

lastly he had to surrender. The king was advised to take a position. He further advised

the king to peep into the temple from the north-eastern side through a hole. The King

was waiting for the moment when Mother Kamakhya would appear and dance.

Kendukalai started the sandhyarati with the recitation of hymns and began to dance,

after few minutes goddess appeared and began to dance. The King peeped into the

temple and saw the wonderful sight of Goddess Kamakhya dancing. However, she

came to know about the presence of Naranarayana and stopped. Goddess became

angry with both of them and was enraged at the betrayal of Kendukalai she slapped

him and made his head fly up and drop down near the village of his birth place

Kalaigaon. Goddess Kamakhya also cursed Naranarayana, forbade him and his family

members along with his descendants to enter or visit the temple or even to look at the

temple from any place. She said, “If you or your descendants or members of your

royal family ever visit or look at the temple, you or your descendants or members of

your family will surely die.” Then she vanished in the air. From that day onwards the

heirs of Naranarayana have not visited the temple.

2.6.2. Kamkahya Temple and the Ahom Kings

Another great dynasty of medieval Assam was Ahom who had ruled for around six

hundred years. The Ahoms were described as the descendants of the “Lord of

Heaven” whom the Hindus call as ‘Indra’ and the Deodhais as ‘Lengdon’.71

Also the

first leader of Ahom, Sukapha was from the origin of shans who laid the foundation

of the Ahom kingdom in Assam. In the beginning of the seventeenth century, the

Kamakhya became more popular and known wider due to Ahom King Pratap Singha

43

(1603-1641 CE).72

Durga puja was introduced in Assam. After him, Rudra Singha

ruled from 1696 AD to 1714 CE.73

He was a staunch follower of Sakta to embrace

Shaktism he became an orthodox Hindu. Even he summoned a Sakta Brahmin priest,

Krishnaram Bhattacharya74

from Bengal to settle in Nilachala hill and take care of

temple. But when the priest reached the king declined to become his disciple and sent

him back. It is interpreted that due to the curse of the priest a severe earthquake

occurred. However, the king died before the fulfillment of his desire. Before his

death, he had already advised his son and successor Siva Singha to settle the saint in

the Nilachala Hill and gave him responsibility of management of the Kamakhya

temple.75

In the reign of Siva Singha (1714-1744), the Land grant inscription of Kamakhya

Pandunath dated at 1637 saka or 1715 CE76

mentioned that a total of 400 purās of

land covering two paraganas were given to the priests of Kamakhya Pitha for its

maintenance. Along with Siva Singha his consort Phuleswari known as

Pramatheswari became a staunch follower of the Shakti cult and was more under the

influence of Krishnananda Bhattacharya. Even she tried to make Shaktism as a state

religion. It is widely known that Phuleswari to execute her plan she invited Vaishnava

followers in a Shakti shrine and smeared their foreheads with the blood of sacrificed

animal and made them accept nirmali of the Devi which caused the Moamaria

rebellion.

Pramatta Singha (1744-1751 CE)77

brother and the successor of Siva Singha,

continued the royal patronage to the Kamakhya temple as mentioned in the stone

inscription of the Amratakesvara (Siva) temple at the north Nilachala hill, dated 1744

CE.78

Rajeswar Singha (1751-1769 CE)79

, the fourth son of Rudra Singha ascended

44

the throne after the death of Pramatta Singha. Like his predecessor, Rajeswara Singha

had given some land grants to the Kamakhya Temple. It is mentioned in a copper

plate inscription dated 1759 CE that the Ahom king Rajeswara Singha donated some

lands to Brahmans and servitors at pubpar parganas.80

Apart from that during his

reign, Officer Tarun Duwara Barphukan constructed the temple which is mentioned in

stone inscription of the Kedar Temple at Nilachala dated 1751 CE.81

According to the

text of other stone inscription Nat-mandir attached to the Kamakhya shrine, with the

patronage of Rajeswara Singha his officer constructed the Utsava-mandir attached to

the Kamakhya temple dated 1759 CE.82

According to the copper plate inscription of

Gaurinath Singha 1782 CE, the king desired to offer one lakh sacrifice to the

Kamakhya temple.83

Later on, from the buranji (chronicles) it is found that

Badanchandra Barphukan, the Governor of Lower Assam had not managed the temple

properly and misused the items and articles of worship.

Conclusion

Thus, it can be concluded that the Kamakhya temple as one of the greatest centre of

Shakti worship gives the detailed information about the mythological stories related

with it. But, regarding the actual date for the establishment and building of the temple

there is no evidence to be found of the ancient period. Then later on, as per the

accounts in the medieval period the temple was re-build by some of the rulers of

Assam. Also, it can be said that Saktism along with the renovation of temple began to

flourish all over the Assam from the medieval period. Also only during the period of

the Koches the Kamakhya temple was well recognized, passing to the Ahoms and at

present it has become one of the famous temple in whole region.

45

Endnotes

1 Shastri, B N. Ed. The Kalikapurana. Delhi: Nag Prakashan, 2018: 248,38/158; 97,18/41-43

2 Bhattacharya, N.N. The Indian Mother Goddess. New Delhi: Manohar publications, 1999: 298.

3 Kakati, B.K. The Mother Goddess Kamakhya. Guwahati: Publication Board Assam, 2004: 38.

4 Datta, Parimal Kumar. Kamakhyatantra and the mysterious history of Kamakhya. Kolkata: Punthi

Pustak, 2017: 149.

5 Choudhury, P.C. History of Civilization of the People of Assam. Guwahati, 1966: 419.

6 Shastri, B N. 2018. Op.cit., 253, 38/101.

7 Kakati, B.K.. 2004. Op.cit., 9.

8 Chatterji, Suniti Kumar. Kirata Jana Kriti. Kolkata: The Asiatic Society, 2014: 26.

9 Sarbeswar, Satpathy. Dasa Maha Vidya and Tantra Sastra. Calcutta: Punthi Pustak, 1992: vii.

10 Ibid., 2.

11 Borah, Bosanta kr. “Dasamahavidya or the Ten Incarnations of Devi”. in Heritage of Kamakhya

on the Nilachala Hill. Guwahati: Vivekanada Kendra Institute of Culture, 2010: 29.

12 Sarbeswar, Satpathy. 1992. Op.cit., vii.

13 Ibid., viii.

14 Borah, Bosanta Kr. 2010. Op.cit., 29.

15 Ibid., 29.

16 Shankaranarayanan, S. The Ten Great Cosmic powers. Pondicherry: Dipti Publications, 1975: 15.

17 Borah, Bosanta Kr. 2010. Op.cit., 30.

18 Shankaranarayanan, S. 1975. Op.cit., 19.

19 Ibid., 32.

20 Goswami Priyam. Kamakhya: The Mother Goddess. Guwahati: Orchid Publication, 2015: 45.

21 Shankaranarayanan, S. 1975. Op.cit., 46.

22 Ibid., 46-47.

23 Priyam Goswami. 2015. Op.cit., 47.

24 Sarbeswar, Satpathy. 1992. Op.cit., ix.

25 Ibid., ix.

26 Shankaranarayanan, S. 1975. Op.cit., 93.

46

27

Sarbeswar, Satpathy, 1992. Op.cit., ix.

28Borah, Bosanta Kr. 2010. Op.cit., 32.

29 Priyam, Goswami. 2015. Op.cit., 58.

30 Panchanan, Tarkaranta. Ed. Kalikapuranam. In Parimal Kumar Datta. Kamakhyatantra and the

mysterious History of Kamakhya. Kolkata: Punthi Pustak, 2017: 185.

31 Datta, Parimal. Kumar. Kamakhyatantra and the Mysterious History of Kamakhya. Kolkata:

Punthi Pustak, 2017: 35.

32 Ibid., 35

33 Shastri, B.N. 2018. Op.cit., 549, 72/78.

34 Ibid., 83, 16/15.

35 Ibid., 83, 16/48.

36 Ibid., 87, 16/49.

37 Sarma, Dr. Pradip. “The Nilachala Hill”. In Heritage of Kamkahya on the Nilachala Hill,

.Guwahati: Vivekananda Kendra Institue of Culture, 2010: 2.

38 Shastri, B.N. 2018. Op.cit., 97, 18/41-43.

39 Borah, Bosanta Kr. “Kamakhya Episodes in Traditional History”. In Heritage of Kamkahya on

the Nilachala Hill. Guwahati: Vivekananda Kendra Institute of Culture, 2010: 14.

40 Shastri, B.N. 2018. Op.cit, 228, 36/7.

41 Ibid., 241, 38/70.

42 Ibid., 243, 38/100.

43 Ibid., 253, 38/100-101.

44

Ibid., 258, 40/14-15.

45 Ibid., 249, 39/2.

46 Shastri, Biswanarayana. Ed. Yoginitantra, Delhi: Bharatiya Vidya Prakashan Publisher, 1982: xli.

47 Borah, Bosanta. Kr. 2010. Op.cit., 13.

48 Shastri. Biswanarayana. 1982. Op.cit, 15/24, 48-51, 55, 56-58.

49 Ibid., xli.

50 Gait, Edward. A History of Assam. Guwahati: Lawyers Book Stall Publications, 2015: 12.

51 Borah, Bosanta. Kr. 2010. Op.cit., 8.

47

52

Mekhela in Assamese means the ankle-length lower garment worn by women that has to be

raised (ujuwā) partly by hands to walk, as the path is very steep and rocky.

53 Sharma, M M. Inscription of Ancient Assam. Assam: Department of Publication Gauhati

University, 1978: 33.

54 Baruah, S.L. A Comprehensive History of Assam. New Delhi: Munshiram Manoharlal Publishers

Pvt. Ltd, 2012: 159.

55 Shastri, B.N. 2018. Op.cit., 38/129.

56

Gait, Edward. 2015. Op.cit., 47.

57 Acharyya, N.N. A Brief History of Assam. New Delhi: Omsons Publication, 2018: 94

58 Baruah, S.L. 2012. Op.cit., 203.

59 Ibid., 95.

60 Gait, Edward. 2015. Op.cit., 50.

61 Datta, Parimal Kumar. 2017. Op.cit., 172.

62 Acharyya, N.N, 2018. Op.cit., 95.

63 Acharyya, N.N. The History of Medieval Assam, New Delhi: Omsons Publication, 2003: 194.

64 Datta, Parimal Kumar. 2017. Op.cit., 174.

65 Ibid., 175.

66 Barpujari, B.K. The Comprehensive History of Assam. Vol. Guwahati: Publication Board of

Assam, 2014: 455.

67 Sarma, N.C. Ed. “Darrang Rajvamsavali”. In Heritage of Kamkahya on the Nilachala Hill.

Guwahati: Vivekananda Kendra Institute of Culture, 2010: 22.

68 Gait, Edward., 2015. Op.cit., 59.

69 Datta, Parimal. Kumar. 2017. Op.cit., 177.

70 Ibid., 179.

71 Acharyya, N.N. 2018. Op.cit., 68.

72 Ibid., 121.

73 Baruah, S.L. A Comprehensive History of Assam. New Delhi: Munishram Manoharlal Publishers,

2012: 289.

74 Ibid., 293.

75Gait, Edward. 2015. Op.cit., 173.

48

76

Sarma, Pradip and Bosanta Kr Borah. “Historical Inscription of Nilachala Hill.” in Heritage of

Kamakhya on the Nilachala Hill. Guwahati: Vivekananda Kendra Institute of Culture, 2010:128.

77 Baruah, S.L. 2012. Op.cit., 296.

78 Sarma, Pradip and Bosanta Kr Borah. 2010. Op.cit., 129.

79Acharyya, N.N. 2018, Op.cit., 168.

80 Sarma, Pradip and Bosanta Kr Borah. 2010. Op.cit., 130.

81 Ibid., 129.

82 Ibid., 129.

83 Ibid., 129.

49

CHAPTER-III

AMBUVACHI FESTIVAL AS A HISTORICAL STUDY

Festivals are termed as an important social event. It is a set of celebration

associated with religion and observed in variety of ways in which some are related

to different communities, areas, cities and country. Some of the festivals could be

for different purposes like arts, food and drinks, even harvest and seasonal. Along

with the involvement of family, friends and relatives, it is also a public celebration

which provides entertainment, thanks giving. Also all the community celebrates

together without any enmity. As there are numerous types of festivals some are

celebrated with luxuriousness and gaiety while others are celebrated in a simple

manner. Each of it has their form, tradition and features. Many are there which are

not only observed at temple but also at home and public places. Festival also has

political, social and economic aspects. They are even organized for the promotion

of the region as to attract tourist. Thus, this demonstrates the growing cultural

significance.

Moreover, India can be labeled as the hub of festival and it became a part of

cultural life. It is well known that the Hindu socio-religious life is very rich with

festivals and even there is a common saying that there are thirteen festivals in

twelve months.1 However the date of the festivals does not remain same and it

changes every year. Hence, the festivals are used to strengthen the relation among

the people and understand the human culture and help to socialize more broadly.

There are numerous definitions on festival that are formulated by different writers,

institutions and dictionaries. Whereas, in the oxford advanced learners dictionary

festival is defined as a day or period of the year when people stop working to

50

celebrate a special event, often a religious one. Also, a series of performances such

as music, plays, films/movies etc and others are usually organized in the same

place and once in a year, a series of public events connected with activity or idea.2

According to the Merriam-Webster collegiate dictionary festival is a time of

celebration marked by special observances, an often-periodic celebration or

program of events or entertainment having a specified focus.3

According to the Collins COBUILD advanced learner’s English dictionary, a

festival is an organized series of events such as musical concerts or drama

productions.4

Waldemar Cundy defined it specifically a festival is an organized socio-spatial

phenomenon that is taking place at a designated time outside the everyday routine-

increasing the overall volume of a social capital and celebrating selected elements

of tangible and intangible culture.5

Emile Durkheim considered festivals as an effervescence the intensity of which

cements the solidarity of a group or a people, a representation of the invisible

relationships between man and the laws of nature, a veritable institution whereby

the bonds between the members of a society are maintained, regenerated and

reproduced.6

3.1. Ambuvachi Festival

In India, every year dozens of festivals are celebrated. Ambuvachi is one of it

observed in the Kamakhya temple that was located at the Nilachala Hill of North-

East Assam. In immemorial time, Mother Goddess Kamakhya is being worshipped

to indicate the divine energy in the temple. According to the Kalikapurana, it was

51

known that the genital organ of Sati was the shrine and it became one of the Shakti

pitha (centre) that is there at Kamakhya temple. The main Pitha yoni mandala is a

stone consisted of a natural fissure, reddish in color like vermilion or saffron and

conical in shape which is twelve angulas in width and twenty angulas in length,

lying along the Bhasma-saila (the hill of ashes of Kama).7 The great festival,

Ambuvachi has become the recognition of Kamakhya temple. At present, it has

become the most popular festival all over the country and every year people visit

the temple. Despite the huge popularity and value, the exact detail about the origin

of the festival is not known.

Like other words, Ambuvachi also has a meaning that consists of ambu means

water and vachi means to speak or to talk.8 Initially, a feminine suffix referred to

the Devi’s yearly turn of menstruation period.9 Ambuvachi actually is an Assamese

word which means that “the issuing forth of water”, referring to the swelling of the

Earth’s water during the onset of the monsoons at that time of the year.10

According to the tradition Devi Kamakhya being a mother figure goes through

menstruation towards the end of Mṛgaśirā star and continues till the end of Ārdrā

star around the early part of the month of Āṣāḍhā. The devotees had surmise that

whoever touches the yoni will be cursed. There is a reference in the Yoginitantra

that it is a yearly recurrence of such a period of impurity during which no one

should go into the Devi’s temple. It is said that the touching of Devi during these

days will invite a curse and shorten his life.11

Usually temples are recognised with the images or idols residing. However, the

Kamakhya temple does not consist of any image inside the temple. It makes the

temple different from other temples. The sanctum sanctorum of the temple is

constructed on rock with silt that is painted with red. Consequently, when the

52

festival takes place during the rainy season water gets mixed with vermilion,

trickles out through it and the devotees believe it to be the menstruated blood of the

Goddess.12

If the literal meaning of the word is paired with the significance of the

festival, it can be concluded that this particular time is celebrated because it is

believed that the natural stream of water flowing through the yoni mandala of the

garbhagriha of the main temple ‘speaks’ by turning red with an increased supply

of iron in it, thereby denoting the menstruation period of Goddess.13

It can be seen

that the festival did not happen suddenly or just has to. The concept is closely

linked with the natural elements mainly the agriculture and the weather cycle of the

area i.e., Kamarupa.

3.2. Origin of the Festival

There is no clarity on the exact period of origin of the Ambuvachi festival is

celebrated in the Kamakhya temple. However, with the help of oral tradition, it has

been traced that Ambuvachi festival was known to the sadhus and sanyasis from

Nepal and the Himalayan foothills. From the ancient times, they used to frequently

visit Devīkuta alias Kamakhya in their pursuit of pilgrimage.14

Probably, it can be

considered that the festival came to limelight since the time of renovation of the

Kamakhya temple by Koch King Naranarayana as stated in the buranji and the

accounts. The renovation of the temple inspired the Shakti worshippers from far

and wide. Particularly, the tantrics from Nepal and Eastern India used to assemble

in the temple.15

Sadhus and tantrism believed that this festival is for only to them

and as it is pivotal one and not for the common people. For this reason, Ambuvachi

is also called Ameti or Tantric fertility festival. They assert that visiting the

Kamakhya Temple during this period is prosperous as believed that the divine

energy of Mother Earth becomes more powerful.

53

According to Hindu mythology, the earth is the symbol of female power, and the

life giver. Therefore, the earth has been regarded as a deity of worship with names

such as of Mādhavī, Jagaddhātri, Dharā, Bhumidevī, Dharitrī, Vasumatī,

Vasundharā16

from ancient times itself. From the story of Kalikapurana specified

that the Mother Earth had gone through the menstruation and God Vishnu assumed

the form of a boar known as yajnavaraha to rescue the earth from the water

Sindhu.17

During the time Prthvi and Varaha resulted in the birth of Naraka, the

ancient King of Assam. However, the devatas raised various types of obstacles to

stop the birth of Naraka. They had learned that Varaha discharged his semen into

the womb of Prthvi when she was impure because of her menstruation.18

Due to

Prthvi’s impurity, Brahma and other gods reckoned as the birth was likely to bring

misfortune to all. They delayed Naraka’s birth with their divine power. The time

passed Prthvi could not give birth even after the completion of the period. She was

suffering to extreme with unbearable pain and was not being able to carry on the

child. For the reason, earth was facing destruction, she went to Madhava seeking

for help where being touched by Vishnu Prthvi delivered the child. It can be

understood through this mythological story that Naraka turned to be a demon due

to his unusual birth. Since the ancient time, menstruation period was seen with the

prospection of impurity which is still found in the present society. Some of the

community in the Indian society considers that the woman during her menstruating

days is polluted. She is even forbidden to touch anything in the house and is not

allowed to enter the kitchen. The rules and regulations for this practice also vary

from one community to community. Among the Assamese society, who are

residing at the Kamarupa, where the Kamakhya temple is situated also follows the

same practices. With the same comparison, the Ambuvachi days are also taken as

54

defilement of the Mother Goddess Kamakhya for which the temple remains closed

for three days.

3.3. Rituals

Rituals are a kind of religious service or ceremony involving a series of practices

performed in fixed order.19

Festivals have their own ritual procedures which are

needed to be followed and people carry out in a fixed pattern.

The month of Āṣāda third month of lunar calendar i.e. June to July witnesses heavy

rainfall every year and in this same month Ambuvachi festival also starts on the

seventh day.20

Whereas, the festival usually starts from the longest day in the year

i.e., 21st or 22

nd June to 26

th June throughout this period Mother Goddess goes on

her menstrual cycle. As it is believed that the Goddess takes rest following the

tradition temple remains closed for three consecutive days and the daily rituals are

also restrained till the main gate reopens. Then on the fourth day, the temple gates

opens for the darshan of the Goddess Kamakhya. The festival starts with the

covering of yoni mandala (vagina circle) of Mother Goddess Kamakhya with red

silk cloth of about three hundred meters which is kept for three days and this cloth

is called Angavastra.21

Hereafter, the cloth becomes wet with the menses of

Mother Goddess which is believed sacred. Usually Angavastra means the shawl as

in Assam it means Gamosa or Chador and in Bengal it is called Uthoria but here in

the Kamakhya temple Angavastra gives the different meaning. The completion day

of Ambuvachi is called as suddhi and garbhagṛiha the innermost chamber of the

deity where the deity resides is cleaned22

and arrangement is done for the darshan.

Ātpariyas the non-Brahmana of the Kamakhya temple also known as paiks23

and

were the keepers of security and supervisors of cleanliness inside the temple.24

It is

55

their responsibility to clean the garbhagṛiha and also help the priest during the

religious rites in the Pitha. They even give the ritualistic bath to yoni mandala first

with pancagavya (almanac) and then with plain water. After that the deity is

dressed in new saris and the nominal puja is performed.25

After the ritual

Angavastra or rakta vastra is take to the temple office or Bharal (store room). The

cloth is cut into small strips and then it is distributed to the temple priest. The

Priest and the people who were connected to the Kamakhya temple were the ones

who can take part in the contribution to buy the cloth. Also the priest never sells

this Angavastra instead it is given as blessings to the common people. With a

belief that it will bring success strips of these red cloths are tied on the arms or

wrists or necks and is never worn below the navel. According to the legend, Koch

king Naranarayana and his brother Chilarai laid a piece of white cloth on the main

pitha of Devi to locate and verify this spot before under taking the rebuilding of the

temple. This piece of white cloth became red automatically indicating the pressure

of Mother Goddess Kamakhya.26

It is considered that those who got the

Angavastra are lucky as it is the most precious thing. For which people visits from

every corner of the region with a believer that they will get this prasad. Also,

prasad (offerings) in the form of Angodak (water from the spring flowing over the

Yoni Mudra) is distributed.27

Tradition is a belief, custom or way of doing that existed for a long time in a

particular society or among the group of people.28

Ambuvachi festival also has

some special type of traditions that are followed both at temple and home. Such as

works like the agriculture, cultivation, digging, ploughing, cutting trees, building

houses all these are restricted.

56

The identification of woman and Mother Earth are same i.e., menstruation as a

natural phenomenon that fertilize woman to conceive and reproduce are also

thought to be same for Mother Earth. Therefore, Ambuvachi festival signifies the

nurturing power of Mother Earth producing with the dominance of monsoon rain.

In the passage of Mārkandeya purāna it is mentioned that the Goddess herself had

said to “support the whole world with the life sustaining vegetables which shall

grow out of my own body during a period of heavy rain. I shall gain fame on earth

then as Śākambharī”. Thus, this makes it clear that the Mother Earth produces life

sustaining crops for the whole world.29

There are some other rituals like restrain from the food which is cooked in the fire

are mainly followed by widows, sadhus, Brahmins and even the married woman,

man and any other devotees can follow the same practice. They even observe

restrictions such as avoiding oiling and combing their hair, not using foot wears.30

Specifically for widows it is considered to be the matter of great virtue to visit

Kamakhya on the occasion of Ambuvachi. During this period of impurity the

devotees observe vrata31

for three days and relay on flattened rice, curd and fruits.

Some devotees do not even keep their fruits and other eatables on the ground and

they subsist on uncooked food instead. The person who had lost his parent or

parents also observes the vrata usually in the first year after the death.32

But the

ceremony which is mainly practiced by the woman in this period is called Sāthā

vrata. It is observed for seven days from the last four days of the Jyestha (May-

June) to the third day of the month of Asada (June-July). All the vratas are actually

the household practices, so as this. The vrati who are the performer especially girls

and the ladies perform the rituals for continuously seven days. They collect some

mud from the mouse holes and spread on the plate. Then flowers, fruits like leteku

57

(baccaurea ramiflora), lemon, pomegranate, dhekia (fern), betel nut and then the

equipments used for cultivation are kept on the plate to offer to the Goddess. And

the deities associated with this vrata are Kamakhya, Upani Gauri, Goddess

Lakshmi, Mankamini and Phool Kotari. Every day the process of decorating the

plate continues by changing the ingredients. On the seventh day, the vrata ends

with offering the Goddess some flowers, the plate is placed near the shrine of the

house and seeds are sown such as pulse, mustard, barley, lintel and paddy. Lastly

visarjana is done i.e. immersion of the objects of worship in the Saubhagya

Kunda.33

Along with all this restriction, ritualistic practices and auspicious

programmes, functions like annaprāśana, cūḍākaraṇa, and marriage34

are also

strictly avoided.

Some of the authors had noted that despite of suspension of all other pujas only

nitya puja is observed at temple and even at home. In the Kāmeśvarī temple nitya

puja is worshipped, where the daily sacrifice of he-goat is needed to be

continued.35

However these days in the afternoon the usual bhoga (food cooked

only for the deity) is avoided, instead flattened rice, curd, mango, jackfruit and

other seasonal fruits are offered to the goddess on banana leaves. Again, in the

afternoon a special plate of prasad is offered to the Goddess.36

Among all the

devotees, the priests and family members who reside by the Kamakhya were the

real bhaktas (devotees) as they are ones who follows all the restrictions and taboos.

A custom called bhūmidāha is quite similar with the festival Ambuvachi. The term

bhūmidāha means the burning of the earth. It is considered that the earth is burnt

with the extreme heat of the sun.37

In addition, Ambuvachi festival is also based on

the concept of earth. The rituals of both the tradition were related such as

ploughing and sowing are forbidden and vrata is performed.

58

3.4. Pilgrims, Fair and its management

The popularity of this festival has spread to wider range, as there can be seen

increase in number of devotees every year. Pilgrims are not only coming from

India but also from some foreign country. Although, the temple remains closed for

three days, the atmosphere remains vibrant with Kirtan (songs) and other activities.

The Nilachala hill turns into a colourful canvas of mixed designs with lakhs of

people gathering during this time. A mela (fair) held in the temple premises where

commercial activities take place. There are hundreds of ascetics gather at

Nilachala. For most of the sadhu’s who posses’ the mystic powers, this is an

occasion to exhibit. Among these sadhus and sanyasis males were more in

numbers than females. This fair also witnesses large assembly of saints and monks

of different sects and cults in the complex. However, the representation of female

monks is far less than their male counterparts. There cannot be seen any female

priest or pandas in the temple in conducting any of the pujas or helping the people

who are there for darshan. There is hardly any female priest in the temple and all

the works are conducted by the male priest and the pandas.

Pilgrims consider Kamakhya temple as the mātṛkhetra, which signifying the

spiritual inspiration of siddhi, riddhi and krīyā-karma.38

Generally, this occasion is

a platform for religious discussions and interaction. At the time of stay, the

pilgrims spend their time on meditation, engage themselves in singing songs,

praising to the Goddess, starts philosophical talks and even share their miraculous

incidents. Some of the pilgrims spend their time with monks in seeking their

advice and suggestions about their personal problems. They believe that the temple

of Kamakhya grows tremendously powerful by accumulating the divine power of

all the Shakti Pithas.39

On the day of re-opening of the temple pilgrims from

59

nearby areas and from different parts of the country come to this sacred complex to

get darhsan of the Goddess. For these four days some of the Pilgrims stays in the

tents arranged by the temple authority and other voluntary organizations. Now a

day many ashrams and lodges were built near the temple boundary so that the

devotees who have come from far places would not face any problem.

To conduct this huge festival is not possible without the proper management. In

which the State Government directly takes part along with the temple management

committee. The works were distributed to the concerned departments such as

Health Department for first-aid and ambulance, for the security and safeguards

Home Department, Guwahati Municipal Corporation GMC is also involved for the

cleaning, sanitary facilities, drinking water facilities along with Public Work

Department for keeping the entire Hill safe. They even arrange temporary shelters,

for the pilgrims. All the management of the occasions are arranged by

Government of Assam represented by Deputy Commissioner and the Tourism

Department. Many other organizations also come forward to supply free food both

cooked and uncooked to the thousands of pilgrims gathered in the festival. From

the main road to the temple complex it takes of around one hour journey by foot.

Where during the festival days no vehicles were allowed inside for maintenance

and on the way to the temple many facilities were provided from drinking to

resting place. The facilities at the top of the hill during this period have greatly

increased the popularity of this Ambuvachi festival. Many of the pilgrims not only

come to visit the temple but even come to sell their goods which are mainly of puja

articles and handicrafts with religious motifs. Through this economic perspective

can be seen. The whole process of the festival organization has not changed from

60

the time when the festival was celebrated but facilities and maintenance has

improved.

Apart from the festival the Kamakhya temple usually receives thousands of

devotes everyday as there is not only one temple around the boundaries of the

temple many are there. To maintain and look after all the works is not an easy task

and it is the duty of the Sevaits to arrange and manage the requirements for the

daily rituals and the ceremony which are held in the temple. As it is known fact

that temple works are done only by the Sevatis, Pandas and the people who were

connected to the temple. The working hours increases during the festival days and

have to work harder. Even for daily darshan long queue starts from morning 5

o’clock. At present, due to the increase in number of pilgrims to thousands for

better maintenance the queue and coupon system has been introduced. The VIP

pass has been introduced for those who do not want to wait in the queue for

darshan and offers puja quickly and through easy process. But to get this VIP pass

they have to pay. Other pilgrims are also there who does not have to pay and waits

for their turn for darshan staying in the long queue. The process of darshan does

not change even during the Ambuvachi festival or any other festival, it remains

same. Sevaits are the Brahmans and the non-Brahmans who look after the temple

complex40

and Pandas, who help and guide the devotees in the process of darshan.

This sevaits were brought by the rulers in the earlier period to look after the

management of the temple and lands were granted to them to settle and to fulfil

their needs. This sevaits later on turned into the Brahmins. In the Nidhanpur copper

plates it has been mentioned that the land has been awarded to the Brahmans by the

Bhaskarvarman and even no tax was levied.41

The sacred ceremony of horse-

sacrifice which shows the power, wealth and status of the king was followed by the

61

ruler Bhutivarman taken from the imperial Guptas42

probably for which Brahmans

were brought to perform the sacrificial practice and to improve the learning and

cultural programmes. During the Pala dynasty most of the rulers had donated land

to Brahmins who had come from different regions outside the Assam as engraved

in the copper plates. In the Bargaon copper plate grant it has been mentioned that

Ratnapala donated a plot of land having the capacity to yield two thousand units of

paddy to the Brahmin named Viradatta in the north bank of Brahmaputra. The

Swalkuchi copper plate of Ratnapala gives the detail of land donated where three

thousand units of paddy can be cultivated to a Brahmin Kamadevabhatta, also the

Guwahati copper plate grant of Indrapala gives the evidence that the king had

granted four thousand units of paddy field to a Brahmin Deshapala in Hapyoma

Visaya of the north bank of Brahmaputra, the Guwakuchi copper plate grant of

Indrapala mentions land of two thousand units for yielding was being donated to

Brahmin Devadeva, Gopalavarman the son and successor of the king Indrapala has

also granted a land of Eight thousand units to a Brahmin described in the Gachtal

copper plate. Also Dharmapala had given a land of six thousand units mentioned in

Khanamukh copper plate and ten thousand units of land for yielding is mentioned

in Puspabhadra copper plate. Apart from all this also in the Parbatiya copper plates

of Vanamalavarmadeva and the Nowgong copper plate grant of Balavarman III,

there has been mentioned about the land granted to the Brahmins.43

Therefore,

from this source it can be traced that from the early period the Brahmins had

already settled in the region Kamarupa (Assam). Also, later on some of the Ahom

kings Rajeswar Singha, Siva Singha and their officers had also granted land to a

priest of Kamakhya. In the copper plate inscription of brahmottar grant in the

Bangsar-Pargana, it has been stated that Siva Singha’s officer Auija Duwara

62

Barphukan donated thirty bighas of paddy land to a priest of Kamakhya named

Vidyavagisa Chakraborty in 1717 C.E and the copper plate inscription of Nankar

in the Nambar-bhag paragana provides the detail that during the reign of Rajeswar

Singha a land of eighty bighas were donated in 1763 C.E.44

Also from the account

it has been known that on the invitation of Ahom king Rudra Singha, Bengali

Brahmin came to Assam.45

With the passages of time, this Brahmins became the

permanent residents of the region and their population began to increase. Thus, in

the present the whole area of the Kamakhya temple is dominated by the Brahmins

and they had also started to build buildings which are set up as the lodges, shops

and ashrams. Through this apart from the temple work they have their extra source

to fulfil their needs.

3.5. Conclusion

Even, though the exact period is not known when the Ambuvachi festival is started

celebrated. The festival has become the greatest one linked with the agricultural

cycle in which the whole region survives. It is a period of transition when the

Mother Earth gets prepared to bear crops. Thus to give an understanding to the

common people, it has been placed religiously. But apart from the outer surface

which is seen during the festival is the only information we can know, other than

that things are secret. Going into the depth of the Ambuvachi festival the temple is

closed for three days. At that time whatever have happened in the temple are never

disclosed to the common people. It just remains as a secret within the office of

Kamakhya temple and the priest along with the people who are connected to the

temple. Then about the rituals it can be seen that the though the devotees also

observe but temple priests and their family were the ones who follow all the taboos

and restriction functional in the Kamakhya temple. Since, the concept is about the

63

natural phenomena and the fertility cult is worshipped women is automatically

connected with the Ambuvachi festival.

Endnotes

1 Satprakashananda, Swami. “Folk Festival in India”. Midwest Folklore 6. no.4. 1956: 221.

2 “Festival”. In Oxford Advanced Learner’s Dictionary of Current English. 8

th ed. Oxford: Oxford

University Press, 2010: 566.

3 “Festival”. In Merrian Webster’s Collegiate Dictionary. U.S.A: Incorporated spring field, 463.

4 “Festival”. Collins Co build Advanced Learners English Dictionary. Harpers Collins Publishers,

2006:528

5 Cudny, Waldemar. “The Phenomenon of Festivals: Their Origin, Evolution and Classifications”

Anthrops, 109, H.2. 2014: 642.

6 Durkheim, Emile. Trs. The Elementary forms of the Religious Life. London: George Allen &

Unwin ltd, 1964.

7 Shastri, B.N. Ed. The Kalikapurana. Delhi: Nag Prakashan, 2018: 459, 62/88b-90.

8 Borah, Bosanta Kumar. “Fairs and Festivals”. Heritage of Kamakhya on the Nilachala Hill.

Guwahati: Vivekananda Kendra Institute of Culture, 2010: 58.

9 Mishra, Nihar, Ranjan. Kamakhya- A Socio Cutural Study. New Delhi: D.K. Print World ltd,

2004: 51.

10 Mazumdar, Jaideep and Parthasarathi Mahanta. Kamakhya. Guwahati: Pi Publications, 2013: 58.

11 Mishra, Nihar Ranjan. 2004. Op.cit., 52.

12Barman, Sivanath. “Religion and Reality: An inquiry into the Hindu cult of Assam”. In D. Nath.

Ed. Religious Tradition and social Practices in Assam. Guwahati, 2016: 73.

13 Goswami, Priyam. Kamakhya The Mother Goddess. Guwahati: Orchid Publication, 2015: 97.

14 Borah, Bosanta Kumar. 2010. Op.cit., 59.

15 Ibid., 59.

16 Shastri, B.N. Ed. The Kalikapurana. Delhi: Nag Prakashan, 2018: 36/231, 24/161, 38/240,

38/238, 38/242.

17 Ibid., 25/174.

64

18

Shastri. B.N. 2018. Op.cit., 36/228.

19 “Ritual”. Collins Co build Advanced Learners English Dictionary. Harpers Collins Publishers,

2006:1248.

20 Borah, Bosanta Kumar. 2010. Op.cit., 60.

21 Datta, Parimal Kumar. 2017. Op.cit., 195.

22 Ibid., 195.

23 Mishra, Nihar Ranjan. 2004. Op.cit., 76.

24 Goswami, Priyam. 2015. Op.cit., 93.

25 Mishra, Nihar Ranjan. 2004. Op.cit., 52.

26 Borah, Bosanta Kumar. 2010. Op.cit., 62.

27 Mazumdar, Jaideep and Parthasarathi Mahanta. 2013. op.cit., 61.

28 “Tradition”. In Oxford Advanced Learner’s Dictionary of Current English. 8

th ed. Oxford:

Oxford University Press, 2010: 1642.

29 Bhattacharya, N.N. The Indian Mother Goddess. New Delhi: Manohar, 1999: 19.

30 Datta, Parimal Kumar. 2017. Op.cit., 195.

31 Mishra, Nihar.Ranjan. 2004. Op.cit., 52.

32 Sarma, Hemanta Kumar. Socio-Religious Life of the Assamese Hindus. New Delhi: Osmons

Distributors, 1997: 193.

33 Borah, Bosanta Kumar. 2010. Op.cit., 62.

34 Mishra, Nihar Ranjan. 2004. Op.cit., 52.

35 Ibid., 53.

36 Ibid., 52.

37 Sarma, Hemanta Kumar. 1997. Op.cit., 191.

38 Borah, Bosanta kumar. 2010. Op.cit., 61.

39 Datta, Parimal Kumar. 2017. Op.cit., 195.

40 Mishra, Nihar Ranjan. 2004. Op.cit., 14.

41 Sharma, M.M. Inscription of Ancient Assam. Assam: Department of Publication Gauhati

University, 1978: 53.

42 Nath, R.M. The Background of Assamese culture. Shillong, 1948: 35.

43 Sharma, M.M. 1978. Op.cit., 124, 148, 153, 174, 180, 200, 207, 233, 247, 256.

65

44

Sarma Pradip and Bosanta Kr Borah. 2010. Op.cit., 130.

45 Hunter, W.W. A Statistical Account of Assam. Delhi: B R Publishing Corporation, 1975: 38.

66

CHAPTER-IV

AMBUVACHI FESTIVAL AND ITS IMPACT ON SOCIETY

Religion plays the role of both positive and negative effect in society, which

sometimes divides, bring peace and even controversies. Still with the common rites

and rituals binds the people of various communities together which brings

harmony in the society. Religious ideologies reflect and evolve according to the

needs of society as its material condition, mode of production and relations of

production changes.1 From earlier times, woman’s were seen excluded from many

services starting from religious service, in political complex noting them as weak,

problem creator and impure on account of her menstruation. Thus, this chapter

explains the worship of menstrual period of the Mother Goddess and examinees

the influence of Ambuvachi festival and analyze how this festival is perceived by

the people of Kamarupa. Ambuvachi festival gives a different impact on the society

relating to the menstruation. It can be said that this festival as the fertility ritual

present the actual scenario of the Kamakhya temple. In the many parts of India

there are temples with the similar concept of menstruating Goddess. In Kerala the

same rite of purification is made of the goddess bhagavati.2 In Punjab Mother

Earth sleeps every month for a week3 probably during her periodic days as well in

Malabar region, the Goddess during the hot weather takes rests until the first rain.4

Then as well in the Deccan, after the navaratra, the temple of Devi is closed from

the tenth to the full moon day.5

Ambuvachi festival is the interpretation of the energy of Goddess similar with the

woman with the reference of worshipping the yoni pith, genital organ of Sati.

Moreover, the Goddess Kamakhya is known as the primordial force that puts the

67

entire world in the motion.6 There is a belief among the devotees that if a person

touches the yoni stone he acquires immortality as immortal resides in the abode of

Brahma through which liberation (moksa) can be obtained.7 As mentioned in the

Kalikapurana, even if the piece of iron comes into the contact with the Yoni-stone

it turns into gold because of the powerful energy of Mother Goddess.8 Here in the

temple along with yoni and Lord Shiva is also worshipped in the form of linga.

This forms the joint worship i.e., the united energy of Siva and Shakti (Saiva-

Shakti) under the name of Ashta-matikas, representing principles of fertility and

generations.9

The festival is celebrated in the month of June-July that is the monsoon season of

harvesting. During these days Mother Goddess goes through her menstrual period

and or devotees this menstrual blood of the Goddess is believed to be sacred and

can cure any illness.10

Red as the symbol of fertility represents the menstrual

blood and the vermillion stands for menstrual blood which is used to smear on the

stone implying the productive energy.11

As in the temples vermillion is put on the

stone, sculpture and images of the Goddesses and even after conducting the puja as

a ritual the priests smeared on the forehead of the devotees. Another custom of

followed by the Hindus is that women have to put the vermillion on their forehead

as a symbol of married but the widows cannot use it. The forehead painted red

shows a sign that she is forbidden to all men except her husband and will bear him

children.12

As mentioned in Manu Samhita man is referred as a seed and the earth as the

field.13

Also earth is termed as the eternal womb.14

Thus, as the women can bear

child in the same way Mother Earth has also the function of life producing,

agriculture. Therefore, for common masses it is the divine energy, power called

68

Shakti of Mother earth as well as the women. Mother Goddess being termed as the

fertility goddess considered her to be the protector of children. It can be projected

that same as women Mother Goddess also has womb i.e. Earth, where crops are

yielded for survival for human being. Actually, it is an ancient concept of

conceiving by Mother Earth.15

So, in this connection as the Indian agricultural

myths begin with the Mother Goddess of Harappa culture. As mentioned by

Marshall in the unearthed seal at Harappa there is nude female figure, head

downwards and legs stretched out upwards, with a plant issuing out of her womb.16

The concept of Mother Goddess as primordial force is also there in other countries

present with different names and forms, such as Isis in ancient Egypt, Ishtar in

Mesopotamia, and Greek and Roman goddess as Gaea, Athena, Demeter, Artemis,

Aphrodite and many more.17

These Goddesses are the evidence of being

independent that stood by her and have the strength and power to destroy any

problem. Accordingly the fertility of the fields seemed to belong to the special

competence of women who were regarded the first cultivators of the soil and

power of child bearing in primitive thought as a sympathetic effect on the

vegetative forces of the earth.18

In this point, N N Bhattacharya argued that ‘As the

Universal beliefs, Women cause the fruits to multiply because they know how to

produce children. Whatever is planted by a pregnant woman will grow and

increase as the fetus in her womb.”19

This implies that Woman has the power to

control over things. And the fruit here might be considered as children who will

grow with the nature and purpose as she had desired whether with the faults or

advantages. Particularly the concept of Mother Goddess fighting with the demons

can be compared with the natural calamities like flood, drought and the landlords

and money lenders who in the present world handle the matter of lands in and even

69

oppress the unprivileged peoples in order to protect her worshippers and their

agricultural yields. In the Kumari Tantra it’s been mentioned that the ‘The whole

world is embodied in the woman, one should be a woman one’s self. Women are

Gods. Women are vitality’.20

4.1. Trantricism related to Shakti wosrship

The religion attested to the worship of Mother Goddess is Shaktism. Shaktism also

had similar roots, it can be noted from the earlier civilization that the aboriginal

tribes used to worship cults who were mainly female deities. Later, these cults

were bought under the Hindu fold and were given a name Shaktidevi, as the

woman was believed to possess creative energy.21

Shaktism actually is the

medieval religion with certain primitive female deities. It is a worship of Goddess

in different forms and names. Basically Mother Goddess Kamakhya is one but

assumes various shapes at her will and is known by numerous names according to

her manifestations in different Pithas.22

The male gods, Shiva, Brahma and

Vishnu are the subordinates of the Mother Goddess. They remained as the mounts

of the great powers of Mother Goddess and also she is the consort of Shiva and yet

being the consort she is also his creator.23

These can be compared with the father,

brother and husband of women as like the male Gods they remain as the supporter

and protector. Mother Goddess is the source of all powers to all the beings. But

remains the subject although was created by the combined powers of Gods. She

was created to perform the deeds that the Gods could not achieve for themselves

she soon established her own significant might and power.

The worship of Mother Goddess is mostly related to Tantriscism, where sacrifice is

the main offerings. According to the Tantric ritual the menstrual blood is called

70

khapuspa (flower from the sky) and the necessary part of the ritual is yantra

actually drawn as Lotus whereas the lotus signifies the female procreative organ.24

4.2. Changes in the offerings

With the passage of time changes took place even in the field of religion. The

methods remained and rituals changed. Particularly, the process of worshipping

Mother Goddess Kamakhya had also changed mainly the offerings to the deity. In

the Kalikapurana and Yoginitantra, the methods of worshipping the Mother

Goddess Kamakhya were thoroughly described, but some of it are not followed or

allowed in the present days.

The Goddess Kamakhya being a mother protects from the enemies, removes

misfortunes, brings welfare, grants wish of her devotees. To achieve all these

benefits hundreds of rituals and offerings are required to satisfy the goddess. For

the common people it is difficult to perform alone without the knowledge of

procedure therefore priests are assigned to guide them. In the earlier days kings of

Kamarupa and from nearby regions before going to the battle ground visits the

temple of Kamakhya for their victory. As the goddess can be pleased by the

sacrificed blood, the rulers according to the practice used to offer wild animals like

buffaloes, he-goats and sometimes human sacrifice.25

Through this they affirmed

that Mother Goddess would protect the dynasty from the enemies. Thereafter as it

happens they come back to the temple to offer their gratitude to Goddess

Kamakhya. But, in the present days some of the offerings mainly the human

sacrifices are not allowed.

Moreover, for the sacrifice birds, tortoise, alligators, fish, big lizards, bulls, he-

goats wild boars are presented for the attainment of liberation and prosperous

71

life.26

However, apart from birds and he-goats some of the other animals are not

allowed for the sacrifice in today’s generation, for the reason that those animals are

difficult to gather. For the replacement of those unavailable things other items like

the pumpkin, sugarcane, spirituous and fermented liquor are used considering

equal to the sacrifice of animal and can be used to satisfy the goddess.27

Generally,

to worship Mother Goddess Kamakhya numerous procedures has been mentioned

in the Kalikapurana one of them is that a person can rescue his thousand

generations of dynasty from accumulated sins, can enjoy long life happiness and

also can obtain sovereignty if he can climb the mountain Nilakuta and worship the

yonimandala for three times.28

As per the concept of religion killing any living

beings is a sin but according to the Kalikapurana the animals are said to be created

for offering sacrifice for which even if an animal is killed for sacrifice it is not

considered a sin.29

On top of it only the male animals, birds are offered for

sacrifice and the female animals, birds are exempted, might be because it is

presented to Goddess. The sacrificial work is always conducted only in the temple

for which Balikata’s were given the responsibility. Balikata is a termed used for a

person whose duty is to sacrifice the objects offered to goddess. They execute the

daily sacrifice or nitya bali in the temple. Moreover, this is their source of income.

Some other offerings, women are mostly pleased with cloths, perfumes and flowers

as well Mother Goddess does. To praise her seat made of various flowers or wood

or cloth or of Kusa grass is presented.30

After offering seat one becomes fortunate

and attains the liberation. Whereas devotees consider cloth as the remover of

shame and wipes away the sin.31

Then the perfumes obtained from the trees and

flowers delights the goddess. Also the yoni mandala is bathed with the water, milk,

honey and saffron. To satisfy Goddess Kamakhya it might be easy task or might

72

not be for the reason that all the ingredients and objects are not easily available. In

this case, alternative is there if the flowers are not available leaves can be used for

worshipping. Even, leaves are not available then grass or water or rice. At last, if

none of these ingredients are found, a devotee can offer his devotion.32

But as the

time passed away the methods and process of conducting rituals became simple for

many reasons. Like to manage the procedure and the common people could also

worship with needed items.

For all these arrangements of daily puja and even during the Ambuvachi starting

from the flowers, cloths, fruits and other ingredients, athparia’s the sevatis were

given the responsibility. They were the in charge of cleaning and washing of the

Pithas. The word athparia is derived from the word asta prahara, asta means eight

and one prahara covers three hours meaning the eight divisions of a day covering

twenty four hours.33

From earlier times onwards women’s were used to accomplish some of the

programmes to keep good terms, to fulfil some of the needs and to maintain

wealth. In addition, matrimonial alliance for the support and welfare and

sometimes the power is handed over to the queen but the main tasks were played

by the man behind her. One of the examples can be taken as:

Siva Singha the Ahom ruler, his consort Phuleswari was said to be responsible for

the downfall of reign. During his reign a Sakta priest Krishnananda Bhattacharya

was invited from West Bengal to take care of Kamakhya temple and was made the

head of the temple. But Krishnananda wanted to replace Shaktism instead of Neo-

Vaishnavism in the region. However, in 1722 C.E34

the astrologers predicted that

the king had fallen under the evil influence of stars and soon his reign will end.

73

Thus, to save his kingdom Siva Singha following the advice of priest decided to

hand over the power to his consort Phuleswari and made her the chief queen with

the title Bar Raja and the king himself became the chief advisor of queen. After

that priest gave her name Pramatheswari considering as a symbol of Goddess

Durga.35

Phuleswari became a disciple of Krishnananda Bhattacharya. As a

staunch follower of Shaktism, she began to follow whatever the priest suggested.

Now the queen was completely under the influence of the priest Krishnananda.

Being the chief queen she wanted the whole region to follow Shaktism and started

to impose changing the rituals. But some of the subjects in the region were against

the imposing of religion on the society. Queen heard that the Vaishnava followers

were against the religion even insulted the rites and rituals of Saktism, so she

thought to teach them a lesson.36

So, she invited those including Moamaria

Mahantas who were also the Vaishanava followers in the occasion of Durga puja.

The disciples knowing the fact that they will be insulted without dishonouring the

queen’s invitation went there. The queen taking the chance after the sacrificial

ceremony of animals in the name of ritual smeared the foreheads of the

Vaishnavites and also of Moamaria Mahantas with the blood of the sacrificed

animals. Thus the incident hurt the sentiments of Vaishnavites and the Moamarias.

Therefore, this led to the rebellion between the Ahoms and the Moamarias.

From this circumstance, queen was portrayed as the evil one and full of greed for

power. But, the actual fact was she was only initiating the priest ambition which

brought displeasure among the peoples and the matter turned to the war. Because

of Phuleswari’s this misdeed many works which she had done for the welfare of

the region were not recorded instead her husband king Siva Singha was termed as

the great king and many of his works were also engraved. This shows the strong

74

patriarchal tradition in the society denouncing women who tried to profess her

thoughts in the regional affairs. Thus, it can be pointed that women’s were mostly

used as a tool by the men to achieve their target through many oppressing ways.

Every woman in Kamarupa is considered as a living Goddess and receives special

worship and respect. The society had also adapted the notations as it is described in

the earlier text. Likewise, In the Kalikapurana, the story of Prthvi bearing the child

of Lord Vishnu during her menstruation days was considered as impurity for which

they considered their son would turn into demon. Thus, as followed from the

ancient times in today’s society the women are also considered impure during her

monthly days. Another fact is that, as the menstruation days of the Goddess is

celebrated as a great festival in the same way a girl’s first menstruation might be

celebrated. But probably from the second time of her periodic days she would be

excluded from temple worship including the household works like cooking and

even restricted from entering the kitchen as per the rules and regulations followed

in the society. Thus, it can be related with the concept of Mother Goddess taking

up various formations to mold up with the situation that women can also adapt into

various character to handle the situations.

The point of equality can be seen in this festival through vrata, one of the socio-

religious practices followed by the devotees. It is actually observed by the women

residing at Kamakhya but the male section does not seem to follow the practice.

There are five types of vratas followed at the Kamakhya temple, namely satha

vrata, katyayani vrata, savitri vrata, manantara vrata and doul vrata.37

Among

these satha vrata is practiced during the Ambuvachi festival. It is observed by

every person of the family from boys, girls, married women except the married

men and the widows. This vrata is observed from the month Jyestha (May-June)

75

i.e., from the last four days till the third day of the month Asada (June-July).38

These vrata is an agricultural event related with the Mother Earth. Literally,

following of the vrata were mainly aimed at social control forcing or regulated

only to the women. However, it can also be reversed in a positive way as giving

chances to the women as a concern for their needs and ambition. As in the

Ambuvachi festival the process, schedule and methods of the vrata is setup by the

women.

Even though the temple is of Goddess and the Ambuvachi festival is about the

potency of female energy. However, it has been seen that the entire priest including

sevaits and the pandas were male. None of the festival work is done by any female

priest. From this it can be notified out that the female members were always put

under some restrictions even from the earlier days. As the rules and regulations

were mostly set by the male members it had been followed from the earlier days

onwards. This festival is termed to be one of the biggest and prosperous one as

because it relates the entire social, economic and even political scenario. Likely

through the setup of markets the items needed for the worship of Devi is found

which aroused the economic perspective.

Endnotes

1 Mahanta, Aparna. “Women in History: Gender, Religion, State and Society in Medieval Assam”.

In D Nath. Ed. Religious Tradition and Social Practices in Assam: Guwahati, 2106: 96.

2 Nigam, Aiya V. “Tranvancore State Manual” as quoted in N N Bhattacharya, The Indian Mother

Goddess: New Delhi, 1999:8.

3 North Indian Notes and Queries and Punjab Notes and Queries. (Ibid., 8.)

4 Iyer, L.K. Ananthakrishna. “Cochin Tribes and Castes”. as quoted in Ibid., 8.

5 Underhill, M.M. “The Hindu religions year”. as quoted in Ibid., 8.

76

6 Shastri, B.N. Ed. The Kalikapurana. Delhi: Nag Prakashan, 2018:453; 62/3.

7 Ibid., 458-459; 62/73b-75b.

8 Ibid., 550;72/87-88.

9 Vasu, N.N. The Social History of Kamarupa, New Delhi: Northern Book Centre, 1986: 74.

10 Foulston, Lynn and Stuart Abbot. Hindu Goddesses: Beliefs and Practices, Portland: Academic

Press, 2009: 193.

11 Bhattacharya, N.N. Op.cit., 9.

12 Thomson, G. “Studies in Ancient Greek society” as quoted in Ibid., 9.

13 Dutt, M.N. Manu Samhita, Calcutta: The Resuscitation of Indian Literature, 1909: 319; 9/33.

14 Ibid., 320; 9/37.

15 Lynn Foulston and Stuart Abbot. 1999. Op.cit., 3-4.

16 Marshall, J. Mohenjodaro and the Indus Civilization, London: 1936: 52.

17 Bhattacharya, N.N. 1999. Op.cit., 87, 85, 89, 92.

18 Frazer, J.G. “The Golden Bough” and R. Briffault “The Mothers” as quoted in Ibid.,5

19 Bhattacharya, N.N. Ibid.,5

20 William, Moiner. Brahmanism and Hinduism: New York, 1891: 181.

21 Barman, Sivanath. “Religion and Reality: An Inquiry into the Hindu Cults of Assam” In D Nath

Ed. Religious Tradition and Social Practices in Assam: Guwahati, 2106: 58.

22 Shastri, B.N. 2018. Op.cit.,42; 55/52

23 Ibid., 422;58/66.

24 Barman, Sivanath . 2016. Op.cit.,59.

25 Shastri, B.N. 2018. Op.cit., 501-502; 67/3-5a, 18.

26 Ibid., 501; 67/5b-6a.

27 Ibid., 503; 67/23.

28 Ibid., 491; 65/59-61a.

29 Ibid., 504; 67/39.

30 Ibid., 517; 68/2-4a.

31 Ibid., 524; 69/15.

32 Ibid., 529; 69/78-80a.

77

33

Borah, Bosanta kr. “Sevatis of Kamakhya Temple” in Heritage of Kamakhya on the Nilachala

Hill. Guwahati: Vivekanada Kendra Institute of Culture, 2010:103-104.

34 Acharyya, N.N. A Brief History of Assam. New Delhi: Omsons Publication, 2018:166.

35 Bhuyan, S.K. Ed. Assam Buranji, Assam: Department of Historical and Antiquarian Studies,

1930:71.

36 Acharyya, N.N. 2018. Op.cit.,166

37 Sarma, Pradip and Bosanta Kr Borah. “Vratas on the Nilachala Hill.” In Heritage of Kamakhya

on the Nilachala Hill. Guwahati: Vivekananda Kendra Institute of Culture, 2010:73.

38 Ibid.,75

78

CHAPTER-V

CONCLUSION

The dissertation “Ambuvachi Festival: -A Socio-Cultural Study” is focused on the

festival celebrated at Kamakhya temple every year in the month of June. There are

three objectives framed to understand the Ambuvachi festival and its impact on the

people of Kamarupa. The first objective is to study the historical background of the

Kamakhya temple. The second one is to study the Ambuvachi festival and its

background and the third is its impact on the society.

Ambuvachi is one of the prominent festivals celebrated in Assam and regarded as

the greatest all over India. This festival can be taken as the actual reason for the

establishment of the temple. The festival has a strong connection with the women

and it is about the menstruation period of Mother Goddess Kamakhya.

Assam where the Kamakhya temple is located has been known by many names

from ancient times. In the Puranas, Assam is mentioned as Kamarupa then in some

other literary works Kamarupa and Pragjyotisha is mentioned as two different

regions. Also the present boundary of Assam has also expanded with the passage

of time. The environment of Kamarupa can be traced from the races and tribes who

were residing in this region. As opined by many scholars tribals use to worship

Mother Nature which was later on named as Mother Goddess Kamakhya. Thus,

from the Kalika Purana it has been known that Kiratas were the original

inhabitants, as Kamarupa was first ruled by the Kirata King Ghataka later on

Naraka son of Lord Vishnu took over the region. Then other dynasties who ruled

Kamarupa starts from Varman, Salastamba, Pala, Koch and Ahom.

79

Religion is connected to all the spheres of a region through politically can be

termed as a base of the society and also economically. The religions that existed in

Assam were Vaisnavism, Shaktism and Saivism. From the earlier times Saivism

was popular in Assam known from numerous sources and literary works. However,

tribals from the earlier period used to worship natural elements according to their

rites and rituals. In the medieval period, the cult of fertility i.e., yoni of Mother

Goddess and linga of Lord Shiva began to be worshipped through which Shaktism

and Trantricism started surfacing. With the story of Sati’s genital organ being

fallen on the hill of Nilachala hill and Naraka placed as the ruler of the region

Pragjyotish (Assam). Assam became the important centre of Shaktism with many

temples of goddess where Kamakhya temple one of the greatest centre of Shakti

worship was located. Also Shaktism and Tantricism are connected as the

worshipping procedure of Mother Goddess Kamakhya is related to tantras.

The two main sources which provide vivid information of the existence of

Kamarupa and the worship of Mother Goddess are the Kalikapurana and the

Yoginitantra. The Kalikapurana was written in the middle of the ninth century in

particularly to explain about the Mother Goddess Kamakhya worshipped in Assam.

It has also described about the Shakti cult. In the text the detailed version of the

creator of Universe and the actual formation of the Goddess, the procedure to

worship, establishment of the region and the characters associated with it were

explained. The text presents the divine energy of the Goddess and the role played

by the Goddess for the welfare of her children i.e., devotees and the maintenance

of the Universe. In the Yoginitantra, about the dialogue between the Lord Shiva

and the Parvati and about the tantric rituals has been explained. Here Lord Shiva

tells the story about the origin of Kamakhya stressing in the symbol of Yoni. These

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two scriptures gave different interpretations regarding the creation, locations and

also provided the mythological arena, how the tribal cult was adopted in Hindu

practice associating the legend Naraka and Goddess Kamakhya. Through buranji,

only the reign and works of the Kings can be traced along with the religions which

were followed.

In addition, the structure also presents different scenario politically, socially and

culturally as the sculptures engraved in the temple walls speaks about the history of

particular region and dynasty. But regarding the Kamakhya temple there is no

information on the actual structure. Only information is that during the Muslim

invasion at around sixteenth century, the original Kamakhya temple was destroyed.

The present temple is re-built by the Koch king Naranarayana in 1565 C.E. As the

ancient Assam was ruled by several kingdoms followed by the Koch and the

Ahom, each of these kingdoms had left behind their features, art which can be seen

in the sculptures. The Kamakhya temple is not only one it is connected with many

other temples located in the whole of Nilachala hill. The unique feature is that

there is no image inside the temple instead yoni pitha is worshipped. The pitha of

the deity which are inside the Kamakhya temple are Tripurasundari, Matangi and

Kamala. Other than that there are temples of Kali, Tara, Bhairavi, Dhumavati.

Therefore, as there are numerous deities in the temple festivals are celebrated for

whole year in which Ambuvachi festival is the greatest one and often through the

stories narrated in the text and the puranas information about the particular festival

can be found. So, it can be said that festivals did not happened suddenly or just it

has to there is always a concept associated with it. In case of Ambuvachi festival

there is also a concept strongly linked with the natural elements such as

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agriculture, weather cycle along with lifestyle and culture of the particular place.

The festival is celebrated during the month of June when the region witnesses the

heavy rainfall. The transition which takes place during this period is connected to

the earth can be termed as prepared to bear crops. So, this transformation period is

taken as the menstruating days of the Mother Goddess Kamakhya when she takes

rest for straight three days and for the understanding to the common people it has

been placed into the religious pattern. When a woman goes through her

menstruation she goes into the total state of rest. But in today’s world due to the

current work stage a women cannot go in rest even in her periodic days.

Even though it has become famous across the country, the exact period when the

festival is started to celebrate is not known. Except the outer layer of the festival

which is seen in the Kamakhya temple i.e., increases in the number of visitors in

the temple, sadhus, practicing of the rituals and management that is the only

information known. Apart from that the other things are secret. In this three days

whatever happens inside the temple are never disclosed to the common people. It

just remains with the priest of the temple and the people who are connected to the

temple. It is a secret which has been maintained here from the earlier time onwards

and is still followed as a part of ritual. According to the tantrics the festival is

believed mainly for them not for the common people as because common people

only understands the outer surface and does not know the real meaning of this

period. At present might be for the continuation of the tradition, to keep the belief

and to safeguard the practice it has been opened for the common people.

From this dissertation work, it has been found that the devotees who come to

attend this festival are mainly the agricultural workers as during these days works

82

in the paddy field were stopped. So, they get time to visit the temple for a darshan

with a belief that their crops will grow nicely and give abundant of profits. Even

though every day thousands of visitors come to the temple but especially in these

festival devotees make sure to go for darshan as the day is believed to be the

holiest. Due to the dearth of sources the exact period and the connectivity of the

festival with other regions were not known. About the impact of the festival on the

society it can be said that the maximum number of resides near the Kamakhya

temple were the Brahmins. Thus, it is a common fact that the society of that area

will automatically follow the rites and rituals which is practiced in the temple. Also

not only the followers of Shaktism were the only visitors there were other devotees

who comes from the different background. Every year pilgrims and sadhus visits

from various states like Bihar, Uttar Pradesh, Tripura, Rajasthan, West Bengal etc.

It is found that a large number of pilgrims come from West Bengal may be because

of the fact that region has a strong influence of Shaktism.

Through this festival a multi-organisational work can be seen i.e. the managing

process of conducting the Ambuvachi festival. Here, along with the State

Government and the temple management committee, publics also take part in

arrangement and sometimes provides free food to the devotees. While climbing up

to the main temple small resting tents were made for the visitors, free drinking

water facilities were made and places to keep the shoes were also made. Along

with the written records, the observation about the general atmosphere of the

temple during the Ambuvachi festival gives a lot of information which has not been

recorded yet.

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APPENDIX

Appendix 1: Kamkahya Temple

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Appendix 2: Front of Kamakhya Temple

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Appendix 3: Devotees standing in the queue for darshan

Appendix 4: Kamakhya temple during the Ambuvachi festival

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